West Town, Wicker Park, Ukrainian Village, Kinzie Corridor, Humboldt Park

West Town

Wisconsin

IL • MI • IN

West Loop, Fulton Market, East Garfield Park

West Loop and West Side

Evanston, The North Shore, Northern, Western and Southern Suburbs

Suburbs

Old Town, Lincoln Park, Lakeview, Roscoe Village, Bucktown, Wicker Park, Logan Square, Lincoln Square, Ravenswood, Uptown, Edgewater, Andersonville, Rogers Park

North Side

Michigan Avenue, Streeterville, The Gold Coast, The Loop, and South Loop

Michigan Avenue

Pilsen, Bridgeport, Chinatown, plus Hyde Park, Jackson Park/Dorchester, and Bronzeville

South Side

Superior and Franklin streets, West Chicago Ave, and down to Merchandise Mart and the River

River North

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition by Eli Williamson,&nbsp;Fellowship.&nbsp;The exhibition will be on display from January 24 - March 1, 2026.In&nbsp;Fellowship, South Side Chicago native and photo essayist Williamson&nbsp;visually&nbsp;explores the sacred spaces where Black men and boys learn, grow, and heal in each other’s presence. Through imagery, the exhibition asks: Where are the rituals that teach manhood?&nbsp;Fellowship&nbsp;is an installment of Williamson's ongoing series,&nbsp;The Four Virtues,&nbsp;a four-part monograph that cements the virtue of Black men and boys through images and writing.Fellowship&nbsp;will be exhibited in the Lobby Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.Evanston Art Center, a nonprofit 501 (c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives.

Eli Williamson: Fellowship

In this conversation with tattoo artist Beth Mintzer and decorative arts curator Elizabeth McGoey, discover how Tiffany lamps have shaped artistic expression from historic interiors to contemporary tattoo studios.

Ornament & Identity: From Tiffany Studios to Tattoo Studios

Portraits encompass many forms, including traditionally posed portraits, candid portraits, environmental portraits, conceptual or symbolic portraits, and self-portraits. Representations of real or imagined individuals, couples, families, groups, etc.., in which their images are the primary focus are portraits.Artistically inspired portraits strive to capture the subject’s personality, mood, essence, and character to communicate their uniqueness, story, voice or importance.Cover Art: Jennifer McNultyRBG: Fight Photo prints &amp; mosaic tiles 22×17 2025

Pictures of You

This exhibition focuses on works that explore memory, the marks we leave behind, and the passage of time.Each piece creates a dialogue between permanence and transience, asking: What do we leave behind, and what do we carry forward? Together, the works form a canvas of time—an immersive space for reflection, memory, and discovery.Featuring the works of tenant artists of the Bridgeport Art Center. (list artists?)Image: Reload – Kelvin Larue Taylor 202324 x 36 Photo Print Luster Photos

Traces In Time

A curated group exhibition for this moment in time, a space for honesty, reflection, and emotional depth.In a world that feels loud and uncertain, we invited artists to express what words alone cannot. Expression may be fierce or fragile, joyful or aching, intimate or expansive. It may speak of identity, memory, resistance, longing, or hope.This exhibition explores abstraction not just as a style, but as a release, a way to process lived experience and the emotional charge of simply being human.Presented by VibrantCast, where art is accessible, affordable, and meant to be experienced and owned.We connect people to emerging talent through digital discovery and live immersive events, spotlighting the meaning behind the work and the artists who create it.VibrantCast is a place where everyone is welcome and creativity is held in the highest regard.&nbsp;We invite you to find what moves you and start your collection.Artwork: Rick Sullivan, Double Door. 30 x 40 acrylic on canvas

Art Speaks: Abstract Expressions

The Arts Club’s Exhibition of Visual Artist Members is a beloved tradition that brings great pride and prestige to the institution and its membership. Following an inaugural exhibition of paintings by John Singer Sargent in 1916, the second exhibition ever mounted at The Arts Club was of work by our members. Although its structure has changed over the past century, the goal of the exhibition remains the same: to celebrate and showcase the creative efforts of our artist members across a range of media, styles, genres, and forms.To continue The Arts Club’s tradition of showcasing a current and dynamic representation of our members’ practices, participants are asked to submit works completed within the past two years. Some of the artists members are participating in this exhibition for the first time; others have participated for several decades.It is a remarkable accomplishment to have reached the 92nd Artist Exhibition, the 91st of which featured a record-breaking 84 artist participants. We celebrate most sincerely our artist members’ capacity to thrive, make new and exciting work, and forge community through turbulent times.Photo: Installation view,&nbsp;91st Exhibition of Visual Artist Members, January 2024. Photo: Michael Tropea.

The 92nd Exhibition of Visual Artist Members

ESSENCE&nbsp;witnessed by clouds&nbsp; Eight black artists. Seven men, one woman. Seven Nigerian, one American. Through spirit, story, emotion, nature, and culture, ESSENCE reflects the truth that every human being carries within them a light that gives life value, direction, and meaning, and gives voice to the desire to leave something meaningful behind. Opening Reception: February 21, 2026, 5-9 PM ShadowBoxX Gallery, 116 Washington St, Waukegan IL Zoom Collectors Preview/Artist Talk: Friday February 20, 9 AM

Essence

Jackson Junge Gallery is starting off their 2026 season with&nbsp;I’M FINE, a solo exhibition featuring 14 paintings by in-house artist, Sam Arnold.&nbsp;I’M FINE&nbsp;is an introspective art exhibition reflecting on the unique intersection of health and creative expression. The show is a documentation of Arnold’s health journey, exploring whether her artwork reflects the intensity of what she’s going through, or if she’s simply become really good at masking pain. Most people don’t realize Arnold’s work is deeply personal—they just see “happy paintings.” But each one is her way of escaping, of traveling when she physically can’t.&nbsp;I’M FINE&nbsp;offers a window into the evolving landscape of Arnolds’s internal and external world.<a rel="noopener noreferrer" href="https://oh4nipbab.cc.rs6.net/tn.jsp?f=001MdeqxSD7AhgGMdktnwgKJPU-3V_0ViuYEk-SzxrfkajRROBC20V3ontPTyx0ok9mVgDH5bPvF32O2VgqEbyP8D13gnrNxGHKNdu8Q7yN3nwubnI3ZZ9QNSvuvzxfL8lLw_GiSBOtfWqj0TDW7l-FeJfIbSi2339AJB2y-N_exhk=&amp;c=D18LkDeXhS-Hwtppn61l8orMZ4WQuLRgmjvo_vIAwX9jITqNv3kMEQ==&amp;ch=D3sVuegGAaBng0ApsfdabTWRauvxwWpyTmcZ_NBY5EzclnmQznMQDg==" target="_blank">Viewers of Sam Arnold’s bright work may be surprised to learn that the artist’s life has been chronic pain and PTSD for 14 years. For Arnold, illness is a full-time job - juggling appointments, insurance, treatment research, and just getting through the day. She reports having 220 doctors appointments last year and taking 28 pills a day. There’s always been a contrast between Arnold’s bright and colorful artwork, and the dark things going on. Previously, she has let people form their own ideas about her art without revealing this. But this is Arnold’s life. She makes decisions every day regarding how illness impacts her, that most people don’t have to think about. For years, she has wanted to challenge herself to be more open and vulnerable and to make her pain more obvious in her work instead of masking and saying “I’m Fine”.</a><a rel="noopener noreferrer" href="https://oh4nipbab.cc.rs6.net/tn.jsp?f=001MdeqxSD7AhgGMdktnwgKJPU-3V_0ViuYEk-SzxrfkajRROBC20V3ontPTyx0ok9mVgDH5bPvF32O2VgqEbyP8D13gnrNxGHKNdu8Q7yN3nwubnI3ZZ9QNSvuvzxfL8lLw_GiSBOtfWqj0TDW7l-FeJfIbSi2339AJB2y-N_exhk=&amp;c=D18LkDeXhS-Hwtppn61l8orMZ4WQuLRgmjvo_vIAwX9jITqNv3kMEQ==&amp;ch=D3sVuegGAaBng0ApsfdabTWRauvxwWpyTmcZ_NBY5EzclnmQznMQDg==" target="_blank">September 2024 presented a unique opportunity for Arnold. The prospect of starting a new pain management treatment inspired the artist to record her upcoming medical journey through painting.&nbsp;</a>I’M FINE&nbsp;is a journal of Arnold’s year, each painting a monthly entry. The first, “September 2024”, pictures a bright blue and green coastal landscape, representative of Arnold’s optimism before starting a new treatment that her quality of life would improve. Unfortunately, Arnold would undergo an extremely adverse reaction and be forced to change her plans. Going from one treatment to another is no unfamiliar experience for someone with chronic illness. Arnold thus decided it was natural to continue documenting her experiences. “November 2024” saw experimentation with another failed treatment plan reflected in the month’s painting. A bold landscape with golden yellow fields speckled by green trees and a cool blue river running through. Intense pink lines break up the river, literal illustrations of pain running through Arnold’s body. Six months of surgery followed.Sam Arnold would spend most of the past year focusing on both her physical and mental health while creating art about it - chronicling multiple procedures, surgeries, med changes, and weekly sessions with both a therapist and psychologist. Arnold wanted to work true to her changing feelings through the year. Every month she would put away her other paintings, so they didn’t influence each other. “February 2025” sees a stark evolution to an abstract style different from the more representational works of the previous 5 months, which becomes even more jarring in “March 2025”, a green painting streaked with aggressive yellow and red smears which Arnold explains as a manifestation of her anger this month towards her increasing medical issues. March is the only painting missing Arnold’s meticulous black outlining iconic to her work. Arnold shared how difficult it was not to return to the painting and “finish” it with her outline, but she resisted to stay true to March’s emotions.Pain is a common theme for Sam Arnold living with chronic illness, and extensively represented in her work the past year. Grief is another type of pain that Arnold sadly portrays, experiencing the loss of two family members in January and July. Amongst all the vulnerability Arnold shows in&nbsp;I’M FINE, she’s described the paintings from these two months as being the most deeply personal. “January 2025” paints an aerial map of the broken bridge between Florida and Sanibel Island in intense shades of teal and navy. A devastating hurricane destroyed the bridge and Arnold’s family property on the island. The visual of the broken bridge represents Arnold’s inability to visit the place most cherished by her lost family member, keeping her from them, and symbolic of the pain of their passing.Another unique aspect of&nbsp;I’M FINE&nbsp;is the participation of the artist’s therapist, who has agreed to write a few phrases describing the artist’s mental state after sessions from September 2024 to September 2025. Arnold has not seen these notes, but they will be revealed at the opening of her exhibition, which she has said is “terrifying and vulnerable, but also feels incredibly important.”&nbsp;I’M FINE&nbsp;has been an experiment to see if Arnold’s paintings reflect what she has going on, or if she has continued to mask her pain within her bright work. Arnold has found some pieces more outwardly reflective of her pain than usual, especially those with decaying figures like the decomposing Elmo plushie being overtaken by leaves in “December 2024” or the degraded baby doll in “June 2025”. However, other pieces still feel like they conceal Arnold’s pain such as the finale, “September 2025”. She imagined the last piece as being a joyful conclusion to a year of successful treatments, but instead Arnold frustratingly feels she is in the same place she was a year ago. So even if the colorful landscape of September does feel joyful, it is only because Arnold has returned to masking pain in her art. Creating&nbsp;I’M FINE&nbsp;may not have been as cathartic as Arnold hoped, in fact it was hard and uncomfortable, but she still believes that hard things are worth trying.Arnold hopes that her artwork will contribute to the conversation on mental health. From her art, you may discover that you don’t always know what is going on in people’s lives. People may not outwardly admit to their feelings, even an honest person like Arnold unintentionally hides her pain in her upbeat demeanor. View her meaningful exhibition,&nbsp;I’M FINE, at Jackson Junge Gallery January 12th&nbsp;– March 1st, 2026. The gallery will be holding the exhibition’s opening reception on Friday, January 16th, from 6pm - 9pm, free and open to the public. It is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus.

I'm Fine

The Newberry’s physical collection is vast, containing over 1.6 million books, 600,000 maps, 1,300 unique archival collections, and much more. Altogether, this material fills over 27.5 miles of shelving.In the mid-1990s, prompted by the rise of the internet, new imaging technology, and increasing demand, the Newberry began to digitize its material. While this work initially supported specific publications and exhibitions, the benefits quickly expanded. Now, digitization is central to our mission, making a significant and ever-growing portion of our holdings accessible to scholars globally, fostering new types of research, and engaging a broader public.This exhibit offers a snapshot of our&nbsp;<a rel="noopener noreferrer" href="https://collections.newberry.org/" target="_blank">digital collection</a>, showcasing some of our most popular educational and interactive digital resources.<a rel="noopener noreferrer" href="https://www.newberry.org/calendar/from-page-to-pixel" target="_blank">Details</a><h3> </h3>

From Page to Pixel: Discovering the Digital Newberry

<a rel="noopener noreferrer" href="https://www.mocp.org/events/lecture-in-photography-bob-thall/" target="_blank">Lecture in Photography: Bob Thall</a> Thursday, March 12, 20266:00-7:30 pmMoCP600 S. Michigan Ave.Chicago, IL Please join MoCP and Columbia College Chicago School of Visual Arts for a Lecture in Photography with Bob Thall. *Ferguson Lecture Hall is located on the ground level of 600 S. Michigan Ave. For several decades, Bob Thall has been known for his formally rigorous and deadpan portrayals of the urban and suburban landscape in Chicago, photographing in sharp detail a view camera. His new project looks at cities across the US and his long term commitment to black and white large format work. Thall served on the faculty at Columbia College Chicago from 1976 to 2017 and chaired the Photography Department from 1999 to 2011. His work and scholarship have played a crucial role in the museum’s history and the broader educational landscape. Lectures in Photography is co-sponsored in partnership with MoCP and Columbia College Chicago School of Visual Arts.

Lecture in Photography: Bob Thall

Antonius-Tín&nbsp;Bui&nbsp;(they/them) is a multidisciplinary artist whose work traverses the realms of hand-cut paper, community engagement, performance, and soft sculpture to visualize hybrid identities or histories that confront the unsettling present. Bui’s hybridized identity as a queer, genderfluid, and Vietnamese American informs the way they employ beauty as a refuge for fellow marginalized communities. Their intensive paper-cutting process is exceptionally meditative; each sheet of paper&nbsp;represents&nbsp;an archive of memories and oral histories, mirroring the intergenerational trauma that so many refugee communities are faced with. Through their rigorous and reductive process, they deconstruct the white canvas, metaphorically carving out space for the narratives that are so often omitted from recognized histories.  &nbsp;Bui (b.1992, Bronx, NY) received their BFA from Maryland Institute College of Art, Baltimore, MD. Bui has had recent solo exhibitions at&nbsp;Various Small Fires, Dallas, TX (2024);&nbsp;moniquemeloche,&nbsp;Chicago, IL (2023);&nbsp;Hudson D. Walker Gallery, Provincetown, MA (2020);&nbsp;Laband&nbsp;Art Gallery, LMU, Los Angeles, CA (2019); Lawndale Art Center, Houston, TX (2018).&nbsp;Bui’s work has been presented in group exhibitions at&nbsp;the&nbsp;National Portrait Gallery, Washington D.C.;&nbsp;Portland State University, OR; The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY; Weatherspoon Art Museum, Greensboro, NC; Orange County Center for Contemporary Art, Sacramento, CA; Picker Art Gallery,&nbsp;Colgate University,&nbsp;Hamilton, NY;&nbsp;the&nbsp;McNay Art Museum, San Antonio, TX; Elizabeth Foundation for the Arts, New York, NY; USC Pacific Asia Museum, Pasadena, CA; Houston Center for Contemporary Craft, Houston, TX; Blaffer Contemporary Arts Museum, Houston, TX; among others.  Bui will present a solo exhibition at&nbsp;moniquemeloche&nbsp;in 2026.&nbsp;Public collections include the&nbsp;Mint Museum, Charlotte, NC;&nbsp;University of Michigan Museum of Art, Ann Arbor, MI; New York Historical Society, New York, NY;&nbsp;BMO Harris Bank Corporate Art Collection, Chicago, IL; Bank of America Art Program, Newark, DE; JP Morgan Chase Art Collection, New York, NY;&nbsp;Jordan Schnitzer Family Foundation, Portland, OR; Eaton Workshop, Washington D.C.; Arkansas Museum of Fine Arts, Little Rock, AR; Wesley Theological Seminary, Washington D.C.; and the Pennsylvania College of Art &amp; Design, Lancaster, PA.&nbsp;They are a recipient of The&nbsp;Outwin&nbsp;Boochever&nbsp;Prize (2021) and MICA Alumni Grant (2018). Bui is a fellow of the 2022&nbsp;Queer|Art|Mentorship&nbsp;program, and has received additional fellowships from MASS MoCA&nbsp;(2025);&nbsp;Golden Foundation, New Berlin, NY (2024);&nbsp;James Castle House, Boise, ID (2022); Kimmel Nelson Center for the Arts, Nebraska City, NE (2022); Fine Arts Work Center, Provincetown, MA (2019); Yaddo, Saratoga Springs, NY (2024,&nbsp;2019); The Growlery, San Francisco, CA (2019); and Houston Center for Contemporary Craft, Houston, TX (2018). Bui lives and works in&nbsp;Chicago, IL.&nbsp;&nbsp;

Antonius-Tín Bui 

While some institutions limit collection holdings to one or two pieces per artist, RAM is often interested in representing a career through multiple examples. Those whose works are collected in depth are referred to as “archive artists.” While the number of pieces needed to achieve this status is medium-specific, these holdings might also include things like personal records, sketchbooks, or studies made in preparation for a larger work.From The Archives&nbsp;showcases eight Wisconsin-based artists with recently established archives at RAM—Jerrold Belland, Lisa Englander, Caren Heft, Alex Mandli, Michael Nitsch, Bill Reid, Susan M. Sorenson, and Marc Wollman—each of whom have long-standing and impactful connections to RAM and Wustum. They are former staff members and RAMA Board members, regular juried exhibition participants, Artist Fellowship Award recipients, and longtime supporters of the Museum. Featuring a mixture of existing collection holdings and recent acquisitions, this exhibition offers a glimpse into the careers of these eight artists who have helped make RAM what it is todayArtists in the ExhibitionJerrold Belland, Lisa Englander, Caren Heft, Alex Mandli, Michael Nitsch, Bill Reid, Susan M. Sorenson, and Marc Wollman

From the Archives: Recently Established Artist Archives at RAM

<a rel="noopener noreferrer" href="https://experience.mcachicago.org/7252/7258" target="_blank">Get Tickets</a> Admission is free to Family Day attendees. This month find lost things and transform them into something new.Designed for children under 12 and their grown-ups, MCA Family Days invite our youngest visitors to be the museum’s artists, thinkers, and collaborators. Image: Family Day | Pocket Con, MCA Chicago, December 9, 2023. Photo: Alexis Ellers.

Family Day | Lost and Found

Joy Machine is thrilled to present World in My Eyes, a duo exhibition of Chicago artists Kayla Mahaffey and Joseph Perez, a.k.a. Sentrock. An opening reception will be held from 6 to 9 p.m. on January 23. World in My Eyes is, first and foremost, rooted in the lives of everyday people. Both Sentrock and Mahaffey have long depicted friends and neighbors in their own Chicago neighborhoods, exploring how our city shapes its youngest residents. How are children cared for? How are their imaginations and dreams nurtured? These questions recur throughout both artists’ practices and always hinge on another: how do children thrive amid turmoil, whether political, cultural, or personal? In World in My Eyes, Sentrock’s signature bird character meets Mahaffey’s energetic cast. Each artist confronts an underlying struggle–whether an unrealized dream or a physical need–not through an unrealistic swaddle of optimism but rather through the often-repeated idea that hope is a practice. For children, and for all of us seeking a better tomorrow, hope starts with courage.

World in My Eyes

To celebrate the gallery's one year anniversary, Sawhorse's walls will be covered in shelves and the shelves will hold objects by 121 artists. Exhibited artists include: Aaron Nemec, Abigail Buzbee, Abraham Cone, Ada Hamilton, Adehle Daley, Alex Adkinson, Alex Freundlich, Allegra Harvard, Amy Vogel, An Emard, Annabelle Dunstan, Ari Norris, Avery Booth, Bella Carlos, Ben Holmes, Ben Stevens, bex ya yolk, Bridget Conway, Bridget Hamel, Catherine Jacobi, Claire Adams, Claire Bentley, Claire, Helen Ashely, CM Clemente, Corrine Slade, Daniel Baird, Daniel Champion, Daniel Epstein, Danny Wieder, Deb Sokolow, Dolan Bailey, Elena Ailes, Ellie Kreischer, Em Davenport, Emily Harter, Emma Rossoff, Emma Xhaxho, Emmy Brady, Eric Wilson, Ethan Chan, Eva Sturm-Gross, Forrest Frederick, Gabriel Moreno, Grace Requejo, Hannah Tishkoff, Harleigh Shaw, Harrison Wyrick, Henry Gross, Jane Leipold, Jeff Charles, Jenny Collins, Jess Bass, Jesse Bond, John Himmelfarb, Jon Gott, Josephine Dorsey-Lauck, Julia Daniel, Julia Marks, Justin D'Acci, Kamilah Davila, Kate Hefferen, kg, Kishino Takagishi, Laura Davis, Lauren Lauer, Laveen Gammie, Liam Owings, Lily Szymanski, Lucie Scanlon, Maddie Gournay, Madeleine Aguilar, Madeleine Leplae, Madeline Gallucci, Magdalena Saliba, magicfeiei, Marissa Macias, Micah Dillman, Michelle Grabner, Mikey Mosher, Montana Russell, Natalie Toth , Nate Millstein, Neiva Mulhern, Nell McKeon, Nick D'Alessandro, Nico Ramirez Rosas, Nina Harold, Oli Watt, Olivia Mae Clanton, Olivia Martin, olivier, Paula McLean, Payton Kaeding, Pedro Albertini, Phyllis Bramson, Rachel Yanku, Rebekka Federle, Riley Duncan, Rob Sohmer, Sammie Anselmo, Samuel Schwindt, Sarah Bastacky, Sarah Braman, Sarah Diab, Sascha Huth, Sasha Miasnikova, Tulane Eichhorn, Shama Kipfer-Tessler, Sharmarke Ahmed, Tatiana Sky, Tommy John Ballard, Vic Barquin, Viktoria Tomić, Will Krauland, William Harvey, Win Hartlove, Yigit Ural, Zander Raymond, Zolt Brown-Dunn

Shelf Show

The&nbsp;Driehaus Museum&nbsp;is proud to announce&nbsp;Tiffany Lamps: Beyond the Shade,&nbsp;an exhibition illuminating the volume and breadth of Louis C. Tiffany’s vast artistic production. From the 1890s to the 1920s, Tiffany Studios created a captivating range of decorative lighting fixtures that embraced the technological shift from oil lamps to electricity and simultaneously met the styles and tastes of nineteenth and twentieth century consumers. Drawn from the expansive collections of the Museum and the private art collection of Richard H. Driehaus (now in the Art Exhibition Lending Foundation), the exhibition explores how the artisans at Tiffany Studios used a range of materials—including bronze, enamel, pottery, and glass—to bring Tiffany’s innovative lighting designs to life. Organized by guest curator Alexandra M. Ruggiero,&nbsp;Tiffany Lamps: Beyond the Shade&nbsp;will be on view at the Driehaus Museum,&nbsp;50 E. Erie Street&nbsp;from&nbsp;September 12, 2025 to March 15, 2026.&nbsp;Executive Director of the Driehaus Museum&nbsp;Lisa M. Key&nbsp;says, “Many Chicagoans and tourists have seen Tiffany lamps in passing but have not had a chance to encounter them in depth or within a richly contextualized narrative. This is a chance to draw people back to the Driehaus Museum by inviting them to see familiar works in new ways. It is an opportunity for the Museum to highlight a core strength and position as a national leader in the complex storytelling of the Gilded Age and the interpretation of design and decorative arts from this time period. In this case, the exhibition will explore the broader context—from design processes, to materials, labor, and the influence of designers like Clara Driscoll—to reframe the narrative around Tiffany Studios. “Building on past exhibitions such as&nbsp;Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany&nbsp;(2019-2020) and&nbsp;Louis Comfort Tiffany: Treasures from the Driehaus Collection&nbsp;(2015),&nbsp;Tiffany: Beyond the Shade&nbsp;expands the narrative of Tiffany lamps beyond their iconic glass shades. Guest curator Alexandra Ruggiero&nbsp;says, “I am thrilled to partner with Driehaus Museum and present the&nbsp;extraordinary range of&nbsp;Louis C. Tiffany’s&nbsp;lighting fixtures&nbsp;with a new perspective. The exhibition features objects that exemplify Tiffany’s remarkable ability to marry innovation and outstanding design, enabling museum visitors a chance to marvel at the materiality and incredible artistry of Tiffany lamps.&nbsp;In addition to presenting a range of lamp types and designs, the exhibition will include a selection of decorative objects produced by Tiffany Studios, such as&nbsp;Favrile&nbsp;glass and pottery vases, enamel and bronze boxes, and a leaded-glass fire screen. The exhibition also includes noteworthy works never before exhibited at the Driehaus Museum, including a table lamp with an enameled base and a monumental bronze and Favrile glass chandelier. Within the setting of the Driehaus Museum, the exhibition contextualizes&nbsp;the significant output of Tiffany Studios and provides visitors with a look at the innovation, design, materiality, and business of Tiffany lamps.Tiffany Lamps: Beyond the Shade&nbsp;deepens the natural partnership between the Driehaus Museum and the Richard H. Driehaus Art Exhibition Lending Foundation. By bringing together works from the Museum’s permanent collection and the Foundation holdings, the Museum can offer a broader, richer, and more nuanced presentation of Tiffany’s legacy—one that exemplifies Richard Driehaus’ belief in the power of beauty to inspire. This support deepens the Museum’s role as a cultural steward of the Richard H. Driehaus collection and extends its ability to tell new stories through exceptional design. ABOUT THE CURATORAlexandra M. Ruggiero is a decorative arts curator specializing in glass and a Consulting Curator at The Neustadt Collection of Tiffany Glass in New York. Ruggiero enjoyed a decade of curatorial experience at The Corning Museum of Glass (CMoG), where she worked on projects and research that spanned the history of glass. From 2019 to 2022, she was Curator of Modern Glass with responsibility for acquisitions, exhibitions, cataloging, and research of the CMoG’s glass collections from 1825–1945. In 2023, she was the Interim Department Head, Curator of Collections &amp; Exhibitions at The Rockwell Museum—A Smithsonian Affiliate in Corning, NY. Ruggiero earned a master’s in the History of Decorative Arts through the Corcoran College of Art + Design and Smithsonian Associates in Washington, D.C. and a bachelor’s degree in Art History from the University of North Carolina at Chapel Hill. She is a member of the Association of Art Museum Curators. ABOUT THE DRIEHAUS MUSEUMThe Driehaus Museum engages and inspires the global community through exploration and ongoing conversations in art, architecture, and design of the late nineteenth and early twentieth centuries. Its permanent collection and temporary exhibitions are presented in an immersive experience within the restored 1883 Nickerson Mansion, and the 1926 Murphy Auditorium. The Museum’s collection reflects and is inspired by the collecting interests, vision, and focus of its founder, the late Richard H. Driehaus. For more information, visit<a rel="noopener noreferrer" href="http://www.driehausmuseum.org/" target="_blank">driehausmuseum.org</a>&nbsp;and connect with the Museum on&nbsp;<a rel="noopener noreferrer" href="https://www.facebook.com/pages/Driehaus-Museum/362867207176025" target="_blank">Facebook</a>, TikTok,&nbsp;and&nbsp;<a rel="noopener noreferrer" href="https://www.instagram.com/driehausmuseum/" target="_blank">Instagram</a>.

Tiffany Lamps: Beyond the Shade

Timed with the release of the sequel to last year’s blockbuster film,&nbsp;Wicked,&nbsp;The&nbsp;Land of Oz: Beyond the Page&nbsp;takes visitors back to the original 1939 inspiration. The installation will be on view in two galleries on the Museum’s third floor. Curated by Laura Woolley, a memorabilia expert and consultant known for her appearances on&nbsp;Antiques Roadshow&nbsp;and her work at The Collector’s Lab,&nbsp;Land of Oz: Beyond the Page&nbsp;explores the imaginative artistry required to turn the classic children’s story into a beloved movie. Divided into three sections—Writing, Costume, and Production Design—the installation reveals how designers brought L. Frank Baum’s world to life.Highlights include a replica of Dorothy’s Ruby Red Slippers, an early draft of the script, a prototype of the iconic Flying Monkey costume, a character costume from Emerald City, and a replica of the Cowardly Lion’s Medal of Courage. Visitors will also see an original edition of the&nbsp;Wizard of Oz&nbsp;book, a historic telegram announcing the change from silver to ruby slippers, and a rare illustration of the Emerald City. Families, film lovers, and design enthusiasts alike will find something to spark their imaginations.Land of Oz: Page to Screen&nbsp;deepens the natural partnership between the Driehaus Museum and the Richard H. Driehaus Art Exhibition Lending Foundation. This&nbsp;support&nbsp;cements&nbsp;the&nbsp;Museum’s&nbsp;role&nbsp;as&nbsp;a&nbsp;cultural&nbsp;steward&nbsp;of&nbsp;the&nbsp;Richard&nbsp;H.&nbsp;Driehaus&nbsp;Collectionand&nbsp;extends&nbsp;its&nbsp;ability&nbsp;to&nbsp;tell&nbsp;new&nbsp;stories&nbsp;through&nbsp;exceptional&nbsp;design.&nbsp;According to&nbsp;Cynthia Van Osdol, the President and CEO of the Driehaus Trust Company, “From a young age, the Land of Oz presented a fantasy world for our founder, Richard Driehaus. He found great escape in the purpose and teamwork of its characters, and the Yellow Brick Road held a particularly vivid allure for him. As he expanded his art collection, he acquired texts, costumes, and production design originals from the 1939 film. These included, of course, our pair of Ruby Red Slippers, and a series of brilliant watercolors by Jack Smith Martin which were instrumental in the creation of the film. Equally influential is a spectacular pastel of the Emerald City, with its pair of concentric deco-styled white halos and the white light that radiates from its core. As a champion of late 19th and early 20th century architecture, it's easy to imagine why this piqued Richard's imagination. By sharing these treasures--some for the first time--we hope the public will be equally inspired. "

The Land of Oz: Beyond the Page

<a style="color: rgb(84, 88, 89);" rel="noopener noreferrer" href="https://www.meijergardens.org/plensa/?occurrence=2025-10-24" target="_blank">Jaume Plensa: A New Humanism</a>&nbsp;explores Jaume Plensa’s career-long engagement with themes common to our shared humanity such as dreams, desire, justice and mortality. While Plensa’s oeuvre is marked by diversity in format and media, the human condition remains the primary subject of his art, which traverses the personal and collective, individual and universal. Featuring both monumental and intimate-scaled sculptures and select two-dimensional works that span three decades, this is the first retrospective of this internationally acclaimed artist in the United States. Image: Jaume Plensa.&nbsp;Hortense in Slumberland, 2021. Bronze, Edition of 11. 30 x 22 x 20 cm. Photo: Roberto Ruiz © Plensa Studio Barcelona

Jaume Plensa: A New Humanism

Sale 6475<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6475-dining-at-home?page=1&amp;per=48&amp;tab=overview" target="_blank">Dining at Home</a> Mar 17, 2026&nbsp;10:00AM CT<h2> </h2>Online / Chicago

Dining at Home

Sale 6476<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6476-e0742266-a20d-4d56-aada-46e7b4f9b92c?page=1&amp;per=48&amp;tab=overview" target="_blank">Important Jewelry</a> Mar 18, 2026&nbsp;10:00AM CT<h2> </h2>Live / Chicago

Important Jewelry

Sale 6477<a rel="noopener noreferrer" href="https://freemansauction.com/auctions/6477-the-collected-library?page=1&amp;per=48&amp;tab=overview" target="_blank">The Collected Library</a> Mar 19, 2026&nbsp;10:00AM CT<h2> </h2>Timed Online / Chicago

The Collected Library

DOCUMENT Chicago is delighted to present a two-person exhibition of photographs by Jimmy DeSana and Paul Mpagi Sepuya. Opening on January 9, the exhibition will remain on view through March 21, 2026. This intergenerational dialogue between the work of Jimmy DeSana (b. 1949, Detroit, MI – d. 1990, New York, NY) and Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) unfolds as a set of carefully matched pairings. Both artists use photography to engage with queer bodies and the politics of representation, implicating the viewer as much as any figure who appears in the frame. Closely associated with New York City’s No Wave and downtown art scenes in the late 1970s and employing a rich array of photographic processes, DeSana drew on Surrealism in presenting bodies in confusing entanglement with everyday objects as well as one another. Anticipating the sexual anxieties of the imminent AIDS crisis, he infused queer erotics with equal parts absurdity and dread. Beginning his career in the mid-2000s, Sepuya’s work comes from his intimate involvement and collaboration with queer communities on both U.S. coasts. The desiring gaze can only take in Sepuya’s bodies via fragmentation, mirroring or the clever reproduction of his previous photographs; effects meticulously produced by Sepuya in the studio rather than by any digital manipulation. Side by side, DeSana and Sepuya remind us that queer aesthetics—much like queer liberation—is a continual process, never far from the lived, corporeal world. Image: Paul Mpagi Sepuya,&nbsp;Darkroom Mirror (0X5A0752), 2019. Archival pigment print; 51 x 34 in.

Jimmy DeSana and Paul Mpagi Sepuya

Amira DiawAva PetersonRebekka FederleOlivia Porter A house is never only a structure. It is a sequence of movements, arrangements, and experiences: arrivals and departures, objects placed then replaced, rooms slowly infused with life through use. Housewarming, Elise Seigenthaler Gallery’s inaugural exhibition, brings together a group of artists whose works consider the domesticity as a site of memory, projection, and emotional investigation.&nbsp;Throughout the history of art, interiors have offered a framework for thinking through personal environments and the quiet pressures of everyday life. Neither purely private nor entirely fixed, the home emerges as a place shaped by negotiation: between self and other, permanence and impermanence, outside and inside, care and neglect. The works in&nbsp;Housewarming&nbsp;engage with these tensions, approaching domestic space not as a static backdrop but as an active and evolving habitat.&nbsp;Across painting, beaded work, and sculpture, familiar elements of the home are loosened from their functional and traditional roles. Ornate decor dissolves into shimmering strokes of abstraction, rooms register absence as much as occupation, and wooden objects become affective substitutes for pets. The components and meaning of an interior are revealed as something constructed, vulnerable, and deeply entangled with personal and cultural histories.&nbsp;As the gallery’s first exhibition,&nbsp;Housewarming&nbsp;reflects a moment of arrival. The exhibition extends its attention inward and treats the gallery itself as a space in the process of becoming. The works gathered in this show trace their own paths through memory, material, and imagination, offering the gallery as a provisional interior, newly occupied and still taking shape. Amira Diaw&nbsp;(b. 2002 in&nbsp;Houston, TX)&nbsp;is an interdisciplinary artist based in Chicago, IL. Her paintings serve as an archive of their history, capturing moments from the 1970s through the early 2000s that lend a stranger-like quality in the realm of the family or kinship space. Diaw has exhibited her work with John St Gallery, Point Blank Gallery, and Gure. She is a BFA candidate at the School of the Art Institute of Chicago (2026).&nbsp;Rebekka Federle&nbsp;(b. in&nbsp;Chicago, IL) is a multidisciplinary artist based in Chicago, IL. Federle received her MFA from the University of Chicago (2025). Federle’s work was recently exhibited in the solo shows&nbsp;The Liberators, Chat About x CWAC Exhibition Series&nbsp;(Cochran Woods Art Center, IL) and&nbsp;In Your Dreams&nbsp;(Topo, ME) and&nbsp;GOODUNANIMOUSBAD BADUNANIMOUSGOOD(Logan Center, IL)&nbsp;Ava Peterson&nbsp;(b. 2002 in Columbus, OH) is an interdisciplinary artist based in Chicago, IL. Peterson received a BFA in Studio Art from Denison University (2024) and is an MFA candidate in Painting &amp; Drawing at the School of the Art Institute of Chicago (2026). Notable exhibitions include the solo shows&nbsp;House &amp; Garden&nbsp;(Incubator Gallery, IL) and&nbsp;Clear the Kitchen Table&nbsp;(Bryant Arts Center, OH) as well as the group show&nbsp;In a Child's Place&nbsp;(Purple Window Gallery, IL). Peterson has also received the Nan Nowik Memorial Award for Outstanding Artistic Expression (2024) and was a Luminarts Visual Arts Fellowship Finalist (2025).&nbsp;Olivia Porter&nbsp;(b.1995 in Los Angeles, CA) is a multidisciplinary artist based in Los Angeles, CA. Porter received her BA from Kenyon College (2018). Recent exhibitions include&nbsp;The Last Notice Show&nbsp;(Rusha &amp; Co., CA) and&nbsp;Garden 2022(Ladie’s Room, CA).&nbsp;

Housewarming

Western Exhibitions is thrilled to present Spaces for People, Systems for Spaces, a group show about the built environment — cities, buildings, structures, urban planning — featuring 15 artists from across the States who make art about architecture.&nbsp; Kim BeckJohn BehnkeMarshall BrownCourttney CooperShir EndeEdie FakeJazmine HarrisR.J. JuguilonMakayla LindsayAya NakamuraBrian PetroneDeb SokolowRyan StandfestMarvin YoungJoe Zaldivar Image: Joe&nbsp;ZaldivarKohls Department Store in Upland, 2024marker and watercolor on paper18h x 24w in

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