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

HOLIDAY/GIFT PARTY:&nbsp;Friday, Dec. 19th, 2025 – 5-9pm Timeless Bodies interprets the human form through sculptural realism and abstraction. Throughout history, the human form has been symbolized as a container of life, emotion, and spirit, reflecting both fragility and resilience. How does the body hold and convey our stories, memories, or cultural history? Artists were encouraged to celebrate the interplay of form and storytelling in clay.&nbsp;Juror &amp; Curator:&nbsp;Nancy Pirri is an artist from Chicago, working primarily in ceramics and creating figures of all sizes. Pirri has won awards from the Beverly Arts Center and the Rockford Art Museum, including work published in ‘500 Figures in Clay’ V2. She has exhibited nationally and internationally, including SOFA in Chicago representing women's rights anniversaries, and has acquired collectors from all over the world.&nbsp;She has exhibited with numerous galleries in the Midwest and is currently represented by Oliva Gallery, J. Petter Galleries (MI), Design at 329/Primitive/The Stalls, and Inner Haven Gallery.&nbsp; Photo credit: Suzanne Mauro

Timeless Bodies Holiday Gift Party

Scott Burton: Shape Shift, a&nbsp;critically acclaimed exhibition surveying the seminal—and subversive—art of Scott Burton (1939-1989), opens on Friday,&nbsp;October 3, 2025, at&nbsp;Wrightwood 659 in Chicago.&nbsp;&nbsp;Burton,&nbsp;who once&nbsp;described his work as “sculpture in love with furniture,”&nbsp;was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator.&nbsp;This landmark exhibition&nbsp;spans that career,&nbsp;bringing together&nbsp;works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera.&nbsp;The exhibition is installed on Wrightwood 659’s third and fourth floors.As the most comprehensive survey of the late artist’s work ever mounted in the United States,&nbsp;Scott Burton: Shape Shift&nbsp;is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis,&nbsp;and is presented at Wrightwood 659 by&nbsp;Alphawood Exhibitions.The ExhibitionRather than progressing chronologically, the installation of&nbsp;Shape Shift&nbsp;responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on.On the third floor, the visitor encounters&nbsp;Two-Part Chair&nbsp;(1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.&nbsp;On the same floor, the sculpture and performance element&nbsp;Bronze Chair&nbsp;(1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed&nbsp;by the brick wall of Tadao Ando’s gallery.Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In&nbsp;Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage.Demonstrating Burton’s radical, but elegant, formal inventions is&nbsp;Two-Part Chaise Lounge&nbsp;(1986-87),&nbsp;where&nbsp;a pair of V-shaped pieces of&nbsp;pink Rosa Baveno granite, setflush with each other, transform into&nbsp;stable seating. In an example of the expressiveness of finish, the visitor will find&nbsp;Spattered Table&nbsp;(1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces.&nbsp;Installed nearby is&nbsp;the diminutive&nbsp;Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats.Still another play on the formal possibilities of a vernacular form is seen in&nbsp;Onyx Table&nbsp;(1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works.A star of&nbsp;Shape Shift,&nbsp;the spectacularly extroverted&nbsp;Five-Part Storage Cubes&nbsp;(1982), dominates a landing leading from the third to fourth floor. The&nbsp;stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open.The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one&nbsp;fabricated in yellow Formica and&nbsp;others conceived as abstract experiments—like&nbsp;Aluminum Chair&nbsp;(1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from&nbsp;triangular aluminum plates punctured by large circular apertures.Scott Burton: Shape Shift&nbsp;features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and&nbsp;Individual Behavior Tableaux&nbsp;(1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.Wall and case displays document Burton’s writings for&nbsp;Art in America&nbsp;magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape&nbsp;(1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989).&nbsp;The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.&nbsp;Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.&nbsp;The ArtistRemembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).His critical writing appeared regularly in&nbsp;ARTnews&nbsp;and&nbsp;Art in America&nbsp;and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition,&nbsp;Live in Your Head: When Attitudes Become Form&nbsp;(1969 Kunsthalle Bern, Switzerland).By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989.His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding.Performances and Special EventsOn October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy.&nbsp;Public programs will also include a talk by art historian David J. Getsy, author of&nbsp;Queer Behavior: Scott Burton and Performance Art&nbsp;(University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift&nbsp;the following day with the exhibition’s curator Jess Wilcox. (Registration to come.)PublicationScott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.&nbsp;The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50.Also on View at Wrightwood 659The Joffrey + Ballet in the U.S.&nbsp;is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired&nbsp;by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet&nbsp;Astarte&nbsp;and Anna Sokolow’s&nbsp;Opus 65,&nbsp;as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life.&nbsp;The Joffrey + Ballet in the U.S.&nbsp;is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood&nbsp;Exhibitions.Ellen Altfest: Forever&nbsp;is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting.&nbsp;Ellen Altfest: Forever&nbsp;is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum.&nbsp;Ellen Altfest: Forever&nbsp;is presented at Wrightwood 659 by Halsted A&amp;A Foundation.About Wrightwood 659Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space.&nbsp;For additional information, please visit<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/wrightwood659.org___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6MjcwMjo2MjhjZDA1ZDgwMzI1MTE5ZDdkNThkYmQ3N2YzYzg1NDQyOTgwMmQyMDlkOTA1ZWM3ZDg4OTYwYmMzZGNlYTFhOnA6VDpG" target="_blank">wrightwood659.org</a>. Hours of Operation and TicketsWrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm;&nbsp;Saturdays 10 am-5 pm.&nbsp;Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only at<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/tickets.wrightwood659.org/events___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6ZTM3NTo1ODVkZTEzMTZkZTNkMTU1ZTU4MTZhNmM5ZjI5N2I3NTQzODExNGFmNjY5MTllMDUzZWZmNWQwNGU5ZDgwMThkOnA6VDpG" target="_blank">https://tickets.wrightwood659.org/events</a>. Please note, admission is by advance ticket only.&nbsp;Walk-ups are not permitted.

Ellen Altfest: Forever

The Joffrey + Ballet in the U.S.

Museum of Contemporary Photography at Columbia College Chicago (MoCP) announces the opening of its fall exhibition&nbsp;<a rel="noopener noreferrer" href="https://mocp.us5.list-manage.com/track/click?u=9e4250b7536dc23e9352b28ee&amp;id=9c493825a3&amp;e=62775191de" target="_blank">Channeling: body ← Image → viewer&nbsp;</a>on view from September 2 – December 20, 2025, guest curated by Joan Giroux and Alice Maude-Roxby.This exhibition features eleven international artists whose work communicates through and with the body, positioning the viewer to a consciousness of their body and self, or how bodies channel and defy societal oppression and malevolence. Gestures such as crawling, lying, climbing, kneeling, pointing, running, and walking backward evoke memory, history, and rhetoric. This exhibition situates the body politic and ways in which history imprints upon us as a reminder that we are human, both in and out of the body.Exhibiting artists include Laura Aguilar (American, 1959–2018), Pia Arke (Kalaaleq-Danish, 1958–2007), EJ Hill (American, b. 1985), Susan Hiller (American, 1940–2019), Ketty La Rocca (Italian, 1938–1976), Shari Rothfarb Mekonen (American, b. 1968), Gustav Metzger (German, 1926–2017), Paulo Nazareth (Brazilian, b. 1977), Anna Oppermann (German, 1940–1993), Gina Pane (French, 1939–1990), and Bridget Smith (British, b. 1966).&nbsp;In a statement, the curators relate,&nbsp;“at specific moments in the last half century, these artists have considered how performance and photography can break through overarching conditions, oppressions, rhetorics, and the confines of language.&nbsp;These communications position viewers to experience a heightened awareness of their self and body, and explore how bodies channel and confront societal malaise, oppression, transition, and vulnerability.”<a rel="noopener noreferrer" href="https://mocp.us5.list-manage.com/track/click?u=9e4250b7536dc23e9352b28ee&amp;id=5663ab7740&amp;e=62775191de" target="_blank">Channeling: body ← Image → viewer</a>&nbsp;includes photography, video, and installations that memorialize, witness, and bear tribute to our humanity.&nbsp;About the curators:Joan Giroux (American, b. 1961) is an interdisciplinary artist, educator, and activist, whose work frequently provides context for community and personal reflections on loss, absence, and bereavement through active play and participation. Since 1987, she has performed and exhibited in the United States and abroad, and recently completed a Fulbright-British Library Eccles Institute Scholar Award in London.&nbsp;Alice Maude-Roxby (British, b. 1963) is an artist, curator, and writer based in London, England. Her early publications and exhibitions focused on performance and photography, and feminism included contributions to&nbsp;Art, Lies and Videotape: Exposing Performance, (London, Tate Publications, 2003) and her curation of the exhibition and book&nbsp;Live Art on Camera&nbsp;(John Hansard Gallery, 2007).&nbsp;Gina Pane: Actions Through Time, co-edited with Sophie Delpeux, will be published with Routledge, 2025.

Channeling: body ← Image → viewer

The&nbsp;<a rel="noopener noreferrer" href="https://www.evanstonartcenter.org/events/winter-arts-craft-expo-applications" target="_blank">Winter Arts &amp; Crafts Expo</a>&nbsp;includes original, handmade works of jewelry, ceramics, fiber, metal, glass, painting, photography, mixed media, and more. All proceeds from the Expo will benefit the ongoing exhibition, education, and outreach programs at the Art Center.&nbsp;

23rd Annual Winter Arts & Crafts Expo

Scott Burton: Shape Shift, a&nbsp;critically acclaimed exhibition surveying the seminal—and subversive—art of Scott Burton (1939-1989), opens on Friday,&nbsp;October 3, 2025, at&nbsp;Wrightwood 659 in Chicago.&nbsp;&nbsp; Burton,&nbsp;who once&nbsp;described his work as “sculpture in love with furniture,”&nbsp;was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator.&nbsp;This landmark exhibition&nbsp;spans that career,&nbsp;bringing together&nbsp;works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera.&nbsp;The exhibition is installed on Wrightwood 659’s third and fourth floors.As the most comprehensive survey of the late artist’s work ever mounted in the United States,&nbsp;Scott Burton: Shape Shift&nbsp;is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis,&nbsp;and is presented at Wrightwood 659 by&nbsp;Alphawood Exhibitions. The ExhibitionRather than progressing chronologically, the installation of&nbsp;Shape Shift&nbsp;responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on. On the third floor, the visitor encounters&nbsp;Two-Part Chair&nbsp;(1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.&nbsp;On the same floor, the sculpture and performance element&nbsp;Bronze Chair&nbsp;(1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed&nbsp;by the brick wall of Tadao Ando’s gallery. Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In&nbsp;Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage. Demonstrating Burton’s radical, but elegant, formal inventions is&nbsp;Two-Part Chaise Lounge&nbsp;(1986-87),&nbsp;where&nbsp;a pair of V-shaped pieces of&nbsp;pink Rosa Baveno granite, set flush with each other, transform into&nbsp;stable seating. In an example of the expressiveness of finish, the visitor will find&nbsp;Spattered Table&nbsp;(1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces.&nbsp;Installed nearby is&nbsp;the diminutive&nbsp;Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats. Still another play on the formal possibilities of a vernacular form is seen in&nbsp;Onyx Table&nbsp;(1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works. A star of&nbsp;Shape Shift,&nbsp;the spectacularly extroverted&nbsp;Five-Part Storage Cubes&nbsp;(1982), dominates a landing leading from the third to fourth floor. The&nbsp;stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open. The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one&nbsp;fabricated in yellow Formica and&nbsp;others conceived as abstract experiments—like&nbsp;Aluminum Chair&nbsp;(1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from&nbsp;triangular aluminum plates punctured by large circular apertures. Scott Burton: Shape Shift&nbsp;features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and&nbsp;Individual Behavior Tableaux&nbsp;(1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.Wall and case displays document Burton’s writings for&nbsp;Art in America&nbsp;magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape&nbsp;(1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989).&nbsp;The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.&nbsp;Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.&nbsp; The ArtistRemembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).His critical writing appeared regularly in&nbsp;ARTnews&nbsp;and&nbsp;Art in America&nbsp;and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition,&nbsp;Live in Your Head: When Attitudes Become Form&nbsp;(1969 Kunsthalle Bern, Switzerland).By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989. His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding. Performances and Special EventsOn October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy.&nbsp;Public programs will also include a talk by art historian David J. Getsy, author of&nbsp;Queer Behavior: Scott Burton and Performance Art&nbsp;(University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift&nbsp;the following day with the exhibition’s curator Jess Wilcox. (Registration to come.) PublicationScott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.&nbsp; The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50. Also on View at Wrightwood 659 The Joffrey + Ballet in the U.S.&nbsp;is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired&nbsp;by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet&nbsp;Astarte&nbsp;and Anna Sokolow’s&nbsp;Opus 65,&nbsp;as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life.&nbsp;The Joffrey + Ballet in the U.S.&nbsp;is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood&nbsp;Exhibitions. Ellen Altfest: Forever&nbsp;is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting.&nbsp;Ellen Altfest: Forever&nbsp;is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum.&nbsp;Ellen Altfest: Forever&nbsp;is presented at Wrightwood 659 by Halsted A&amp;A Foundation. About Wrightwood 659Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space.&nbsp;For additional information, please visit<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/wrightwood659.org___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6MjcwMjo2MjhjZDA1ZDgwMzI1MTE5ZDdkNThkYmQ3N2YzYzg1NDQyOTgwMmQyMDlkOTA1ZWM3ZDg4OTYwYmMzZGNlYTFhOnA6VDpG" target="_blank">wrightwood659.org</a>. Hours of Operation and TicketsWrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm;&nbsp;Saturdays 10 am-5 pm.&nbsp;Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only at<a style="color: blue;" rel="noopener noreferrer" href="https://protect.checkpoint.com/v2/___https:/tickets.wrightwood659.org/events___.YzJ1Om5ld3N3ZWJsbGM6YzpvOjkxNmUxZTI1MGM2ZWQyZjc3MDI3ZjM5MDk0MDAxNzBjOjY6ZTM3NTo1ODVkZTEzMTZkZTNkMTU1ZTU4MTZhNmM5ZjI5N2I3NTQzODExNGFmNjY5MTllMDUzZWZmNWQwNGU5ZDgwMThkOnA6VDpG" target="_blank">https://tickets.wrightwood659.org/events</a>. Please note, admission is by advance ticket only.&nbsp;Walk-ups are not permitted.

Scott Burton: Shape Shift

Melanie Pankau - new works

Nov 7 - Dec 20: Luísa Jacinto

Luísa Jacinto

Opening Nov 6: Magalie Guérin, Shape Acts

Magalie Guérin, Shape Acts

Opening Nov 6: Sadie Benning

Sadie Benning

Nov 7 - Dec 20: Matt Olson

Matt Olson

Oh, you’ve got to come back to the city, the place where you belongOh, you’ve got to come back to the city, the place where you were bornOh, you’ve got to come back to the city, the city of dreams&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;—Marvin Tate, “City Promenade”&nbsp;OH, YOU’VE GOT TO COME BACK TO THE CITY is a solo exhibition by Theaster Gates. The exhibition opens at GRAY Chicago with a public reception for the artist on October 16, and remains on view through December 20, 2025. This is Gates’s fourth solo exhibition with GRAY. In&nbsp;OH, YOU’VE GOT TO COME BACK TO THE CITY, Gates brings together a new series of tar paintings, sculpture, and installation to tell an allegory of the city in decay and the potential contained within its ruins. The exhibition’s title comes from a song by Chicago musician and poet Marvin Tate, in which the City, personified as a character, has cleaned up its act and attempts to lure its residents back from the suburbs.&nbsp; Gates’s artistic practice has engaged and reframed the cultural and material history of Chicago as material for the studio. His new installation explores the possibilities that lie within the city’s unattended corners. From his stone repository, Gates has selected a family of marble, granite, scholars’ rocks, and concrete forms that anchor a grid-like installation evoking both the planning logic of cities and the quiet order of memorials. Ceramic works and everyday artifacts rest atop each stone, suggesting the remnants left behind by former inhabitants. Surrounding the sculptural installation is a new series of tar paintings that extend Gates’s patching and bonding strategies. Both sculptural and painterly, these works represent a new direction in the series.&nbsp; In this body of work, Gates wrestles with the burden brought on by aging infrastructure to create new narratives that build on the rich metaphors embedded in his materials—as tools of resistance, signs of excess, and evidence of decline. Developed in conjunction with his exhibition&nbsp;Unto Thee, on view at the Smart Museum of Art through February 22, 2026,&nbsp;OH, YOU’VE GOT TO COME BACK TO THE CITY&nbsp;offers a profound reflection on Gate’s life as a craftsman, urban planner, and pedagogue. Theaster Gates:&nbsp;OH, YOU’VE GOT TO COME BACK TO THE CITY&nbsp;to the City opens at GRAY Chicago (2044 West Carroll Avenue) with a public reception on Thursday, October 16, from 5-7 PM, and will be on view through December 20, 2025.&nbsp;&nbsp;ABOUT&nbsp;THEASTER GATESTheaster Gates (b. 1973) currently lives and works in Chicago. Gates creates works that engage with space theory and land development, sculpture and performance. Drawing on his interest and training in urban planning and preservation, Gates redeems spaces that have been left behind. Known for his recirculation of art world capital, Gates’s practice focuses on the possibility of the “life within things.” His work contends with the notion of Black space as a formal exercise—one defined by collective desire, artistic agency, and the tactics of a pragmatist. Gates has received numerous awards, including the Guggenheim Fellowship (2025), Crystal Award (2020), Nasher Prize (2018), Kurt Schwitters Prize (2017), American Academy of Arts &amp; Sciences Award (2016), and the Smithsonian American Ingenuity Award for Social Progress (2015). His work can be found in public collections worldwide, including the Menil Collection, Houston, Texas; Brooklyn Museum of Art, New York; National Gallery of Canada, Ontario; Museum of Contemporary Art Chicago, Illinois; Tate Gallery, London, England; and the San Francisco Museum of Modern Art, California. Gates is a professor at the University of Chicago in the Department of Visual Arts and the Harris School of Public Policy.

Theaster Gates: OH, YOU'VE GOT TO COME BACK TO THE CITY

Anne Loucks Gallery is pleased to announce the opening of RODGER BECHTOLD &amp; MARY JO O'GARA: A SENSE OF PLACE. The new exhibition, featuring over forty paintings, is on view in our Glencoe gallery through December 31st. Please join us for the Opening Reception with the artists Friday, October 10th from 5 - 7 pm. Rodger Bechtold's work captures the Midwest landscape in an expressive, painterly style that blurs the line between realism and abstraction. His compositions, filled with vibrant color and seemingly effortless brushstrokes, offer a unique sense of warmth, joy and spaciousness that extends beyond the canvas. Mary Jo O’Gara’s paintings are a study in harmonious layers of color, texture and light. Intentionally uncomplicated and fresh, her richly textured compositions of barns, outbuildings and pastoral landscapes reflect a sense of nostalgia, connection, and space found in her Midwest surroundings. Please join us on October 10th from 5 - 7 for light bites and refreshments to celebrate the show. We'd love to see you!

Rodger Bechtold & Mary Jo O'Gara: A Sense of Place

OPENING RECEPTION: Friday, Nov 7, 2025 5-8pm On view through Jan 1, 2026 Solo Exhibition -&nbsp;TBA

Solo Exhibition

Begins Dec 5: Michael Cuadrado Gonzalez

Michael Cuadrado Gonzalez

South Gallery Image: Herman Aguirre,&nbsp;¡Ni uno mas!, 2023, Oil and oil/acrylic skins on panel, 63" x 98" x 4.5"

Herman Aguirre

Sebastian Thomas

This Fall, the&nbsp;Elmhurst Art Museum&nbsp;presents&nbsp;Shakkei: Work by Mayumi Lake and Bob Faust,&nbsp;the first major museum exhibition for Chicago-based artists Mayumi Lake and Bob Faust. Lake and Faust are mutually inspired by the Japanese principle of&nbsp;Shakkei&nbsp;(“borrowed scenery”), a design philosophy that incorporates organic features and architectural designs. The artists’ kaleidoscopic works use color and pattern to create immersive optical experiences, interpreting the Eastern concept broadly as a metaphor for empathy, adaptability, and the ability to hold multiple viewpoints simultaneously. The exhibition will feature recent large-scale artworks by Lake and Faust in separate galleries, as well as a collaborative new work combining their design languages. The exhibition is curated by Liz Chilsen, Manager of Exhibitions &amp; Collections, and will be on view at the Elmhurst Art Museum, 150 South Cottage Hill Avenue in Elmhurst, from September 4, 2025 to January 4, 2026. For this exhibition, each artist will bring their own perspective to the concept of&nbsp;Shakkei, reflecting their unique experiences and history. While Lake’s imagery is based on the symbolic floral motifs found in antique Japanese girls’ kimonos, Faust often incorporates the surroundings of the project or exhibition venue into his “wallworks,” creating site-specific perspectives manipulated from digital photographs. The dialogue between artists addresses the intersection of the patterns of everyday life and cultural and social histories. Shakkei&nbsp;opening reception begins September 5 at 6PM with VIP &amp; Members preview.&nbsp;Doors to the public open at 7PM. Jazz concert with Yoko Noge&nbsp;7:30-8:30.&nbsp;FREE for Members,&nbsp;<a style="color: rgb(0, 124, 137);" rel="noopener noreferrer" href="https://elmhurstartmuseum.us11.list-manage.com/track/click?u=79cd6ec4fe739f4c6b4128435&amp;id=5a5e07054e&amp;e=9f943455be" target="_blank">RSVP here</a>. Non-members can purchase tickets online.<a rel="noopener noreferrer" href="https://elmhurstartmuseum.us11.list-manage.com/track/click?u=79cd6ec4fe739f4c6b4128435&amp;id=16654985fd&amp;e=9f943455be" target="_blank">SHAKKEI RECEPTION TICKETS &amp; INFO</a> Allison Peters Quinn,&nbsp;Executive Director and Chief Curator of the Elmhurst Art Museum, said, “Shakkei&nbsp;highlights cross-cultural exchange by showcasing Japanese principles of landscape design and its influence on contemporary art and architecture. The artists are longtime admirers of each other’s work and decided to collaborate for the first time on a new installation for this show.” She added, “Inspired by our McCormick House designed by Mies van der Rohe, Mayumi and Bob have pushed themselves to consider how their work creates vistas and portals that heighten our understanding of the world around us.&nbsp;We are excited to be the first to present this incredible blend of art practices rooted in nature, pattern, and play, that turn the everyday into an extraordinary, immersive sculptural experience.” ABOUT THE ARTISTSWorking in the space between art and design,&nbsp;Bob Faust&nbsp;crafts artwork with typography at its core and viscerality on its surface. Faust has over 30 years of experience as the principle and creative director of the eponymously named cultural branding studio, Faust. He makes his work with purpose first—to inform, empower and/or instigate in the service and celebration of human difference. Text, patterns, and the ideas of surprise and discovery emerge as throughlines throughout his conceptual art practice that defies categorization and genre. Faust has been recognized nationally and internationally for his inimitable creativity through many prestigious honors including a University of Illinois, College of Fine &amp; Applied Arts, 2022 Distinguished Legacy Award and City of Chicago, 2022 Mayor’s Medal of Honor. Exhibitions have included Mass MoCA BY The Numb3r5 (Mass MoCA), For And Nor But Or Yet So (Poetry Foundation), WA/ONDER (167 Green), with all, and still... (The Peninsula Chicago), Rapt on the Mile (The Magnificent Mile Association), Ways and Means (Chicago Department of Cultural Affairs and Special Events and The Chicago Transit Authority), About Face: Stonewall, Revolt and New Queer Art (Wrightwood 659), Great Ideas of Humanity: Out of the Container (Chicago Design Museum), guilty / Innocent (MASS MoCA); Unfolded: Made with Paper (Chicago Design Museum), Betweens (Riverside Arts Center), and CHGO DSGN (Chicago Cultural Center). In addition to his own work, Faust is also the professional and personal partner of artist Nick Cave. Together they founded the non-for-profit Facility: a multi-use creative space in Chicago that seeks to build community and change the world through art and design. Mayumi Lake&nbsp;is an interdisciplinary artist and educator whose work explores the ideas of time, memory, and floating between the real and imaginary. With a foundation in photography, she integrates digital images of nature and Japanese textiles into her collages, sculpture, sound, moving images, and installation to expand the narrative of the work and form conceptual layers. Lake’s artwork has been exhibited nationally and internationally at venues including Miyako Yoshinaga Gallery, Asia Society, Art in General, and Artists Space in New York; Chicago Artists Coalition and Hyde Park Art Center in Chicago; Lubeznik Center for the Arts in Michigan City; Fotografie Forum International in Frankfurt; Cornelius Pleser Galerie in Munich; Galleria PaciArte in Brescia; FOTOAMERICA in Santiago; Witzenhausen Gallery in Amsterdam; and the Setouchi Triennale in Takamatsu. She has published two monographs, Poo-Chi and Ex Post Facto, with Nazraeli Press. Her work is included in the collections of the Museum of Fine Arts in Houston, the Art Institute of Chicago, Asia Society, the Department of Cultural Affairs and Special Events (DCASE)/City of Chicago, the McCormick Place Art Collection/Metropolitan Pier and Exposition Authority (MPEA), Video Art World, the Joy of Giving Something Foundation, and Facebook. Lake received her MFA from the School of the Art Institute of Chicago. Shakkei: Work by Mayumi Lake and Bob Faust&nbsp;is presented as part of the sixth edition of the&nbsp;Chicago Architecture Biennial. Running&nbsp;September 19, 2025 - February 28, 2026&nbsp;at locations throughout Chicago,&nbsp;SHIFT: Architecture in Times of Radical Change&nbsp;explores timely global issues through the lens of architecture and design.&nbsp;Learn more at&nbsp;<a rel="noopener noreferrer" href="http://chicagoarchitecturebiennial.org/" target="_blank">chicagoarchitecturebiennial.org</a>This exhibition is sponsored by Wintrust Bank with additional support from the Illinois Arts Council, Discover DuPage, Enjoy Illinois and anonymous donors. ABOUT THE ELMHURST ART MUSEUMThe Elmhurst Art Museum is located at 150 South Cottage Hill Avenue in Elmhurst (IL), 25 minutes from downtown Chicago by car or public transportation (Metra). On the museum’s campus is the McCormick House, a single-family home designed in 1952 by Mies van der Rohe, one of the great architects of the 20th Century. The McCormick House is one of only three residences designed and built by Mies in the United States – and one of only two open to the public. The Museum is open Wednesday and Thursday from 12:00 p.m. – 5:00 p.m., Friday through Sunday, 11:00 a.m. – 5:00 p.m. Regular admission prices are $18 for adults (ages 18+), $15 for seniors, $10 for students, and $5 for children. For more information, please call 630.834.0202 or visit&nbsp;<a rel="noopener noreferrer" href="https://www.elmhurstartmuseum.org/" target="_blank">elmhurstartmuseum.org</a>.

Shakkei: Work by Mayumi Lake and Bob Faust

Dec 10 - Jan 4, 2026: Luminous Mosaics, Taiwanese&nbsp;Artist Kai-Chun Chiang

Luminous Mosaics, Taiwanese Artist Kai-Chun Chiang

Thoughtfully designed, One of a Kind Art Gifts

Gallery Seven Holiday Gift Show

Nov 21 - Jan 9, 2026 : Show guest curated by&nbsp;Margaret Crowley + Tim Callahan

Show guest curated by Margaret Crowley + Tim Callahan

Steve Williams

Whether or not something is real or fabricated has become a compelling conversation in a contemporary context as technology allows for the simulation of reality on multiple levels. Artists have been interested in exploring the dynamics of representation and authenticity for many years, but what that actually looks like depends on the artist’s interests as well as what is happening in society at that time. For example, trompe l’oeil&nbsp;(French for fool or deceive the eye) artwork has been an artistic pursuit for centuries. The art form has been historically associated with two-dimensional imagery that appears as three-dimensional space or objects, but can also be applied to three-dimensional objects that, to put it simply, are deceptive in one context or another. Using clay and enamel on copper, respectively, Canadian artists and married couple Karen Dahl and James Doran explore these concepts through their well-known&nbsp;trompe l’oeil&nbsp;sculptures. The two are not collaborators, but their work is rooted in similar subject matter and a desire to explore what still life means in the modern era. A recent gift of 27 works by Dahl and Doran joined three pieces by Dahl already in RAM’s collection—establishing archive holdings for each artist. Shown intermingled in this exhibition, the works of Dahl and Doran encourage extended viewing and consideration of art history, object meaning, and process. James DoranEntomological Doodle, 1989Enamel on copper11 1/2 x 9 1/4 inchesRacine Art Museum, Gift of Holly Hotchner and Franklin SilverstonePhotography: Jarvis Lawson

Fool Me Once: The Trompe L’oeil Sculpture of Karen Dahl and James Doran

Maia Cruz Palileo&nbsp;(they/them) is a multidisciplinary artist whose paintings, installations, sculptures, and drawings navigate themes of migration and the permeable concept of home. Influenced by the oral history of their family’s arrival in the United States from the Philippines, as well as the history between the two countries, Palileo infuses these narratives using both memory and imagination. They produce paintings of dream-like quality that hover between fact and fiction. Investigating the malleable language of the medium, Palileo’s works offer a panoramic lens through which to investigate the larger questions&nbsp;pertaining to&nbsp;forgotten histories and how best to honor these stories in perpetuity. Sourcing subject matter through various photographic archives, their paintings recontextualize the stories, portraits, and images to resuscitate these figures from the exploitative gaze of the ethnographic image.  &nbsp; Palileo (b.1979, Chicago, IL) received an MFA in sculpture from Brooklyn College, City University of New York, Brooklyn, NY (2008) and BA in Studio Art at Mount Holyoke College, South Hadley, MA (2001).  Palileo has had solo exhibitions at&nbsp;David&nbsp;Kordansky&nbsp;Gallery, Los Angeles, CA (2025);&nbsp;moniquemeloche, Chicago, IL (2023, 2021, 2019);&nbsp;The Cummer Museum, Jacksonville, FL (2023);&nbsp;Kimball Arts Center, Park City, UT (2022); the CCA Wattis Institute for Contemporary Arts, San Francisco, CA (2021); the&nbsp;Katzen&nbsp;Arts Center, Washington D.C. (2019);&nbsp;Pioneer Works, Brooklyn, NY (2018); Taymour&nbsp;Grahne&nbsp;Gallery, New York, NY (2017); and&nbsp;Cuchifritos&nbsp;Gallery + Project Space, curated by Jordan&nbsp;Buschur, New York, NY (2015).&nbsp;Palileo has been featured in recent group exhibitions at&nbsp;the Pérez Art Museum, Miami, FL (2024);&nbsp;Cantor Arts Center at Stanford University, Stanford, CA (2024); Sargent’s Daughters, Los Angeles, LA (2024);&nbsp;Moderna Museet, Stockholm, Sweden (2023);&nbsp;Bemis Center for Contemporary Arts, Omaha, NE (2023); The Nasher Museum, Durham, NC (2023);&nbsp;National Portrait Gallery, Washington D.C. (2022); Seattle Art Museum, Seattle, WA (2022); San Jose Museum of Art, San Jose, CA (2022); Jeffrey Deitch Gallery, Los Angeles, CA (2022); The Rubin Museum of Art, New York, NY (2018); and the Bureau of General Services Queer Division, New York, NY.&nbsp;Palileo will present&nbsp;a&nbsp;solo show&nbsp;at&nbsp;moniquemeloche, Chicago, IL&nbsp;(2025).&nbsp; &nbsp;Their work is in the collections of The Baltimore Museum of Art, Baltimore, MD;&nbsp;The San Jose Museum of Art, San Jose, CA;&nbsp;Cummer Museum of Art &amp; Gardens. Jacksonville, FL; The Library of Congress, Washington, D.C;&nbsp;The Nasher Museum of Art at Duke University, Durham, NC;&nbsp;The Speed Museum, Louisville, KY;&nbsp;and The&nbsp;Fredriksen&nbsp;Collection at the National Museum of Oslo, Norway.&nbsp;Palileo is a recipient of the Sharpe-Walentas&nbsp;Studio Program Award, NY (2022); NYFA Painting Fellowship (2021); Jerome Foundation Travel and Study Program Grant (2017); Rema&nbsp;Hort&nbsp;Mann Foundation Emerging Artist Grant (2014); Astraea Visual Arts Fund Award (2009); Joan Mitchell Foundation Painters &amp; Sculptors Grant (2008); and Joan Mitchell Foundation MFA Award (2018).&nbsp;Palileo has&nbsp;participated&nbsp;in residencies at Skowhegan School of Painting and Sculpture, Madison, ME; Lower East Side Print Shop, NY; Millay Colony, Austerlitz, New York; and the Joan Mitchell Center, New Orleans. They currently live and work in Brooklyn, NY. &nbsp; Image: And the Fragrant Greenery,&nbsp;2025oil on linen60 x 48 in152.4 x 121.9 cm

Calendar

Chicago Gallery News