<h3><a href="https://www.wsj.com/arts-culture/fine-art/warhol-is-out-gulfstreams-are-in-the-superrich-are-souring-on-art-58f231e6?st=J5sYw8&amp;reflink=desktopwebshare_permalink" rel="noopener noreferrer" target="_blank">Warhol Is Out, Gulfstreams Are In: The Superrich Are Souring on Art</a></h3><h3> </h3>Something unusual is happening in the art market. Sales are stagnant while other businesses that cater to the superrich, like&nbsp;<a href="https://www.wsj.com/business/airlines/wheels-up-wants-high-end-travelers-to-see-flying-private-as-not-so-far-out-of-reach-5ee39031?page=1&amp;mod=article_inline" rel="noopener noreferrer" style="color: rgb(34, 34, 34);" target="_blank">private jet</a>&nbsp;companies, are booming.The wealthy might simply be putting their cash into other assets because paintings turned out to be a disappointing investment. Weak sales could also be a sign that the art world has become too reliant on baby boomer collectors who are past their peak buying years. Via WSJ <h3>$102 Million Verdict Over Robert Indiana Artwork May End Years-Long Legal Battle</h3> Over $102 million in damages has been awarded to&nbsp;Robert Indiana‘s former business partner in a verdict that may end a protracted legal battle over the rights to some of the late Pop artist’s best-known works. The partner,&nbsp;Morgan Art Foundation, won its lawsuit against art publisher&nbsp;Michael McKenzie&nbsp;on April 23, when a jury in Manhattan federal court found him guilty of making and selling unauthorized Indiana artworks for millions of dollars. McKenzie and&nbsp;Jamie Thomas, the caretaker to whom Indiana gave power of attorney over his estate, have both also been accused by Morgan of&nbsp;<a href="https://news.artnet.com/art-world/robert-indiana-lawsuit-claims-squalor-1627561" rel="noopener noreferrer" style="color: rgb(31, 31, 31);" target="_blank">taking advantage</a>&nbsp;of the elderly artist in his final years. The latest verdict follows a knotty legal saga centering around accusations of exploitation, fraud, and copyright infringement that commenced just one day before&nbsp;<a href="https://news.artnet.com/art-world/pop-art-hero-robert-indiana-dies-at-89-1289993" rel="noopener noreferrer" style="color: rgb(31, 31, 31);" target="_blank">Indiana’s death</a>&nbsp;on May 19, 2018. Via Artnet <h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777352375/fkaj4kflvlwkdfsottjg.jpg"></h3>$30,000 in cuts – Chicago Architecture Center. NEA funding was cut for the popular Open House program <h3><a href="https://www.chicagobusiness.com/forum/ccb-forum-chicago-arts-funding-cuts-20260427/?utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=Newsletter-editorial-promo-20260427" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">How Chicago arts and culture orgs plan to stay strong despite federal cuts</a></h3> Months before last September’s Hyde Park Jazz Festival, Kate Dumbleton learned that a $30,000 grant from the National Endowment for the Arts had been canceled.Dumbleton, the festival’s artistic and executive director, scrambled to raise the funds needed to cover artist fees. But the ordeal left her skeptical as to whether government funding could be a reliable source in the future. “The bigger question is whether the NEA is going to be there for arts organizations,” she says. Via Crain's Chicago

What We're Reading: April 28, 2026

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306499/onkkvpxeqieqqrmsnkli.jpg">Andrea Carlson, 2025. Courtesy of the artist and Jessica Silverman. Photo: Philip Maisel. Note: this interview is the cover feature for CGN's spring/summer 2026 magazine. To purchase a print copy or subscription&nbsp;<a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" style="color: rgb(136, 136, 136); background-color: rgb(255, 255, 255);" target="_blank">click here</a>. By ALISON REILLY Andrea Carlson’s layered, large-scale paintings explore the liminality of the shoreline–specifically the Great Lakes. Born and raised in northern Minnesota, Carlson’s complex landscapes pulse with repeated geometric patterns, portraits of animals, and the products of art making such as pottery, baskets, and statues set against a persistent horizon line. Through her work, she challenges the colonial cannibalism of Indigenous peoples and cultures and presents new, counter narratives. Carlson, who exhibited at the Museum of Contemporary Art Chicago in 2024-2025, has been busy preparing her upcoming exhibition at the <a href="https://camstl.org/exhibitions/andrea-carlson-endless-sunshine/" rel="noopener noreferrer" target="_blank">Contemporary Art Museum St. Louis</a>, which will feature a new series of paintings on birchbark along with screenprints and sculpture. CGN: What are some of your earliest memories making art? Andrea Carlson: I doubt there was a single day growing up when I didn’t draw, so it is really hard for me to isolate specific memories. Typically I’d draw horses as a kid, because they were the most beautiful animal I could imagine. When I was about six years old, my dad was going to throw away some roller window blinds that were made of thick paper. I remember that he cut off the metal rods on the ends of the blinds and gave me the paper part. I was able to draw large horses on those, and that was his idea. He told me that I had to fill the whole sheet. It seemed like every birthday or Christmas, someone would give me a RoseArt box set of artists’ pens, pencils, and watercolors, and I would burn through those supplies pretty quickly.&nbsp; CGN: When did you know that you wanted to be an artist?&nbsp; AC: I come from a family of artists going all the way back. I was always an artist, there was no realization, no story. In college I had a moment of doubt when thinking about my employment prospects as an artist. I thought maybe I should pursue linguistics for grad school, because I learned Ojibwe in undergrad, and I really loved teaching the language. In the end, art school won out, and I went to the Minneapolis College of Art and Design for my MFA and have been working as an artist ever since.&nbsp; CGN: What is a typical day in your studio like?&nbsp; AC: The image of me in my studio is so bleak: it is just my broken body sitting, hunched over a table for 12 hours a day including weekends. That has been going on for years now. Sometimes I have online meetings and take calls, but generally I’m in a trance while making work. I’m able to listen to audiobooks while I work, and I solicit everyone for book recommendations. I’m on a horror kick right now, but I’ll go through entire genres of books. I’ll listen to anything. Recently, I was able to hire a studio manager, and it is so odd to have another person in my space. It might be better to work with people, because when I spend so much time by myself I get a little socially odd and then, in total contrast, I’ll be hoisted out on stage for artist talks and openings.&nbsp; My studio is on Lake Superior now and that is helpful as far as feeling a sense of belonging and security. Looking over the lake before I start my day and in the evening is very grounding for me. It is a privilege and honor to be so close to that lake.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306500/x6e1tlz6iex7yyxcldux.jpg">Andrea Carlson, The Buffet, 2025. Courtesy of the artist and Jessica Silverman. Photo: Philip Maisel. CGN: How does your location–Chicago, Minneapolis, or northern Minnesota–affect the work you create? AC: Many of my paintings are organized against the backdrop of the endless horizon of the Great Lakes. Although place is very important, many people can relate to a body of water, a mountain range, or other natural landmarks as having personhood or a sense of being. The land I reference in the work is not as specific as these post-settler place names, but more general, as if land could be seen as an access point to infinity. We all live on a sphere, a seemingly infinite surface, or infinite horizon. But there is also deep time under our feet. I live on the Laurentian Shield, on the north shore of what is now called Minnesota. The land is older than dinosaurs, and there are very few fossils here because the land mass at the surface came into existence before most life forms came into being.&nbsp; One view of my work is how the earth buries narratives and takes things back. People, objects, the lives of animals, films, stories, books, teachings can all move across the surface, everything can have a diaspora, but it usually ends with things being put into the ground. In my work, the objects, film, and animal references are pre-internment, temporary, and out-of-context to the land. They are passengers heightened by the seeming oddness of their presence and arrangement against the land, or the shore of the seascape I put them on. I often refer to the shore as a liminal space, not fully water or land. It is a space of transition where I hold things in relation to each other, but it is also a space of the Great Lakes. There is so much shoreline in the middle of this continent, so much liminality. CGN: What is your process for making these intricate, complex paintings and drawings? AC: My process starts with observation and conversations, reading, collecting imagery that is important to the subject of the work, or looking into a museum’s collection. Writing is a big part of my process. After I have collected the ideas I draw in light sketches and organize each figure on the paper. To complete the process for the work to have meaning it has to be seen by people. It starts in conversation and is completed in conversation.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306500/cv1jblgvv3qxgsqxzsg2.jpg">Andrea Carlson, The Buffet (detail), 2025. Courtesy of the artist and Jessica Silverman. Photo: Philip Maisel. CGN: Can you tell me about some of the most important objects that appear in your large-scale works like The Buffet?&nbsp; AC: There isn’t any one object or reference I feel is more important than another, but in the center of this painting you will see Namadjii (brand) pottery and black ash baskets that have an interesting history. Namadjii is an Ojibwe word taken from a place name in Minnesota where the clay was harvested. The pottery was meant to “look native” even though it was made by settlers. Nevertheless, those vessels are still made from Ojibwe land, and the appropriation is an act of violence. The black ash baskets reference a form of basket making that is threatened by the invasive emerald ash borer. At the center of the piece, where the baskets and pottery are placed, animals are hiding under and around the table, as a depiction of “The Last Supper” or in this case that moment before the meteors strike.&nbsp; CGN: Cannibalism appears as a recurring motif in your work. How did you first become interested in exploring it? Why is it important to your work?&nbsp; AC: I got interested in cannibalism, as a metaphor, because I got pissed off. I watched a horror film called Cannibal Holocaust while an undergrad, and it bothered me so terribly. I was also researching a lot of decolonial and post-colonial theory then and had noticed how the idea of cannibalism was used by scholars to describe settlers and aspects of colonization that dangerously consumed Indigenous people. Cannibalism was a metaphor for assimilation policies: consuming the other and making it part of the colonial body and identity. Jack D. Forbes wrote Columbus and Other Cannibals, bell hooks wrote an essay called “Eating the Other,” Cannibal Tours and Glass Boxes by Michael Ames, Deborah Root’s Cannibal Culture, to name a few. These books also referenced an Ojibwe monster, the Windigo, to talk about the cannibal sickness of settler colonialism. All of these pieces of information were coming to me at the same time, and I felt that my VORE series could act as a witness, almost an “I witness the continuation of these things” in my landscapes.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306501/mviaxmmuitit9vswcqkq.jpg">Andrea Carlson, Low Relief Mound, 2025. Courtesy of the artist and Jessica Silverman. Photo: Philip Maisel. CGN: When did you start incorporating sculpture and video into your art practice? What motivated you to do so?&nbsp; AC: In 2014 I made a few videos of masks being dissected for a solo exhibition at Plug In ICA in Winnipeg. A few years before that I had made film props and assisted in production for Shezad Dawood’s film A Mystery Play. That film was also produced at Plug In ICA. I enjoy making sculptures, and I’m a tremendous fan of film works, but painting and drawing on paper has taken precedence in my career. That will more-than-likely change in the coming years. I have plans to make more sculptures. When it comes to film, I think the element of movement and time is interesting. Non-static art forms can’t be held all at once in the mind or can’t be observed in a fixed state because it’s always changing. I wanted my large-scale paintings and sculpture to work in a way that has to be traversed. The sculpture is relatively new in my professional work, but I have always done sculptural things, whether the mentioned film props or putting things together in a three-dimensional way. The large scale wooden column work came about through the Toronto Biennial, when I started doing sculpture as standalone work.&nbsp; CGN: Can you tell me about your upcoming exhibition at the Contemporary Art Museum St. Louis? What other projects are you currently working on? AC: The Contemporary Art Museum St. Louis will feature a few new works including Red Welcome, a ten-foot tall and eighteen-foot long work, as well as some work that I’ve been making for my Creative Capital grant. I also have a traveling exhibition organized by the Denver Art Museum that will be going to the Ringling Museum [Sarasota, FL] and Nasher Museum of Art [at Duke University]. I’m also developing some paintings on canvas and sculptural works for an upcoming museum exhibition that isn’t announced yet. I have a lot on my plate, but I am getting ready to have a few weeks off after the CAM St. Louis opening. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306502/vhsqnov9mzh5jpqn26nz.jpg">Andrea Carlson, The Host, 2025,&nbsp;Detail view. Courtesy of the&nbsp;artist and Jessica Silverman.&nbsp;Photo: Philip Maisel. CGN: What motivated you to co-found the Center for Native Futures in Chicago? How has your work with the Center influenced your own art practice?&nbsp; AC: The Center for Native Futures was a COVID baby. During the pandemic, Debra Yepa-Pappan organized online weekly meetings amongst a few Native artists in Chicago. At the time she was working at the Field Museum. We all missed each other, and we all wanted proximity to each other again. Through these meetings, Debra, her husband Chris Pappan, and Monica Rickert-Bolter shared their long-time dream of making a gallery where Native people had a say in what was on the walls, agency and space. The Terra Foundation and the MacArthur Foundation agreed and generously supported us. There is an irony in Native people asking for space in a land where we were forcibly removed, and a city seemingly hell bent on depicting Native people through stereotypical imagery. We wanted to contribute to healing through this space. I’m not sure that co-founding CfNF has influenced my own art practice in a direct sense, but I’ve become more sensitive to the love and care people put into the spaces I exhibit in. There is a lot of labor that goes into supporting artists’ work. Every time we exhibit as artists, there is unseen labor and people who are advocating and lifting behind the scenes. * Andrea Carlson: Endless Sunshine is on view at&nbsp;the Contemporary Art Museum St. Louis, March 6-August 9, 2026.&nbsp; For more information, visit <a href="https://www.mikinaak.com/" rel="noopener noreferrer" target="_blank">mikinaak.com</a>&nbsp;and <a href="https://jessicasilvermangallery.com/" rel="noopener noreferrer" target="_blank">jessicasilvermangallery.com</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306503/hmabspdbyzvdw33psrs8.jpg"> Note: this interview is the cover feature for CGN's spring/summer 2026 magazine. To purchase a print copy or subscription&nbsp;<a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" style="color: rgb(136, 136, 136); background-color: rgb(255, 255, 255);" target="_blank">click here</a>.

Andrea Carlson: Mapping New Futures

Zolla/Lieberman: A Golden Vision for a 50th Anniversary

<h3>Spring and summer offer a full slate of&nbsp;exhibitions across galleries and museums throughout&nbsp;the Midwest. Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. – CGN</h3> Read our 5TTT with Michelle T. Boone&nbsp;<a href="https://www.chicagogallerynews.com/articles/anticipating-a-season-of-art-michelle-t-boone-president-and-ceo-the-poetry-foundation" rel="noopener noreferrer" target="_blank">here</a>.Read our 5TTT with Monique Meloche&nbsp;<a href="https://www.chicagogallerynews.com/articles/anticipating-a-season-of-art-five-to-talk-to-monique-meloche" rel="noopener noreferrer" target="_blank">here</a>.Read our 5TTT with “Easy” Otabor&nbsp;<a href="https://www.chicagogallerynews.com/articles/anticipating-a-season-of-art-isimeme-easy-otabor-anthony-gallery" rel="noopener noreferrer" target="_blank">here</a>. To subscribe to the spring/summer magazine click&nbsp;<a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" target="_blank">here</a>. <h3>Jay Krehbiel –&nbsp;</h3><h3>Executive Chairman, Freeman’s</h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302854/koi0x7hn8ylzpb5xhmwq.jpg"> “I’m especially excited about the season ahead at Freeman’s, as our spring calendar brings together collectors, scholars, and the broader arts community through a dynamic series of auctions and events. Our partnership with EXPO CHICAGO remains a highlight, including Art After Hours at our Chicago gallery, where we enjoyed welcoming friends and colleagues from across the art world [earlier this month]. This season features a rediscovered Josef Šíma masterpiece leading our Impressionist and Modern Art auction, alongside specialized sales spanning Native American Art, Modern Design, and Western Art—each offering collectors meaningful opportunities to engage with exceptional objects and the stories they carry.”

Anticipating a Season of Art: Jay Krehbiel –  Executive Chairman, Freeman’s

<h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302033/wagjkphjxks0oib6rahj.jpg"></h3><h3> </h3><h3>Composing Color: Paintings by Alma Thomas –</h3><h3>SMART MUSEUM OF ART</h3> Alma Thomas (1891–1978) is a singular figure of twentieth-century American art. She developed her form of abstraction – characterized by the dazzling interplay of pattern and hue – late in life, after retiring from a long career as a schoolteacher. Her vibrant and rhythmic art transcended established genres, incorporating elements of gestural abstraction and color field painting and creating a style distinctly her own. Composing Color: Paintings by Alma Thomas draws on the extensive holdings of the artist’s paintings at the Smithsonian American Art Museum (SAAM) and offers an intimate view of Thomas’s evolving practice during her most prolific period, from 1959 to 1978. At a deeply politicized moment in American life, Thomas’s abiding sources of inspiration became the cosmos, nature, and music. As she stated, “Through color I have sought to concentrate on beauty and happiness, rather than on man’s inhumanity to man.”&nbsp; Thru July 5, 2026&nbsp;5550 S. Greenwood (60637)&nbsp;<a href="https://smartmuseum.uchicago.edu/" rel="noopener noreferrer" target="_blank">smartmuseum.uchicago.edu</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302035/shepxlmfzvhpwskll6ai.jpg">The Murphy Auditorium at the Driehaus Museum <h3>Brendan Fernandes: In The Round –&nbsp;</h3><h3>The Driehaus Museum</h3> Brendan Fernandes: In the Round&nbsp; is the Driehaus Museum’s next iteration of its A Tale of Today series that places contemporary art in dialogue with the art, architecture, and design of the Gilded-Age Museum. Fernandes, the Museum’s first artist-in-residence, will transform the 1926 Murphy Auditorium into a dynamic site for sculptural installation, movement, sound, and dance. Conceived as an evolving, episodic residency, In the Round will unfold throughout 2026 with performances and public programs and is organized by guest curator Stephanie Cristello. “In the Round,” says Cristello, “invites us to experience contemporary art and dance as a shared architectural and social space—one shaped by bodies moving together through history. Reactivating the radical spirit of the Judson Dance Theater within the Murphy Auditorium, Brendan Fernandes asks us to see history itself as something lived, collective, and continually re-made.” 50 E. Erie&nbsp;Apr 9–Nov 14, 2026<a href="https://driehausmuseum.org/" rel="noopener noreferrer" target="_blank">driehausmuseum.org</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302036/gbr78qanuzr9oxbrpnsc.jpg">Sarah and Joseph Belknap, 4 Months of the Sun, 2014 <h3>Palomar (Part 1) –</h3><h3>The Renaissance Society</h3> The sun was formed 4.6 billion years ago. It takes 8 minutes and 20 seconds for its light to travel to Earth. The calendar as we know it, based on cycles of the solar year, was first implemented four and a half centuries ago in 1582...Time used to be local, based on the sun’s position. That changed on “The Day of Two Noons,” in 1883, when U.S. railroads adopted standardized time zones....Palomar Observatory, on a California mountain, once had the largest optical telescope in the world...Italo Calvino wrote a book about a person, a seeker of the cosmic in the everyday, who shares his name with that place...Palomar is a group exhibition in two parts. Curated by Karsten Lund. May 2–Jun 7 • 5811 S. Ellis Ave. (60637)<a href="https://renaissancesociety.org/" rel="noopener noreferrer" target="_blank">renaissancesociety.org</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302037/zo81qh9bfcugqnlhxcua.jpg">Denzil Forrester (b. 1956, Grenada; lives in Cornwall, United Kingdom), Duppy Deh, 2018. Oil on linen; 79 1/8 × 120 1/8 in. (201 × 305 cm). Collection of Margot and George Greig. © Denzil Forrester. Courtesy of the artist and Stephen Friedman Gallery, London and New York. Photo: Stephen White &amp; Co. <h3>Dancing The Revolution–&nbsp;</h3><h3>Museum of Contemporary Art Chicago (MCA)</h3> Dancing the Revolution explores and expands the visual, political and spiritual histories of dancehall and reggaetón through contemporary art—two dynamic genres that have transcended their grassroots origins to shape global culture. From Kingston to San Juan through London, Toronto, New York City and Panama, Dancing the Revolution positions music and dance as a revolutionary practice for collective liberation rooted in the struggle against colonial oppression. Dancehall and reggaetón are reminders of the Caribbean’s centuries-old traditions of dance and music as means of liberation and protest rooted in Black Atlantic history and culture. Dancing the Revolution showcases pivotal moments and themes from these histories, starting with the sound system—a mobile disco that embodies both a community experience and a vital civic institution.&nbsp; The exhibition features more than 35 artists, including Isaac Julien, Jean Michel Basquiat, Edra Soto, Alberta Whittle, Carolina Caycedo, supakid and Lee “Scratch” Perry. A special commissioned mixtape project invites visitors to learn about the evolution of these popular genres in Panama and hear iconic songs that paved the way for the global phenomenon of reggaetón.. Apr 14–Sept 20220 E. Chicago Ave., Chicago<a href="https://mcachicago.org/" rel="noopener noreferrer" target="_blank">mcachicago.org</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302038/ypubukd5cjeml1tt1fd2.jpg"> <h3>CHIHULY–&nbsp;</h3><h3>Frederik Meijer Gardens &amp; Sculpture Park</h3> One of only two Chihuly exhibitions in the world in 2026, this exhibition spans both the outdoor gardens and indoor Sculpture Galleries, creating a dynamic dialogue between glass, landscape, and architecture. Outdoors, guests will encounter monumental glass sculptures, vibrant Reeds, and striking site-responsive installations that appear to grow from the landscape, amplifying color, light, and form. Indoors, the separately ticketed exhibition Chihuly: Radiant Forms traces more than 40 years of Chihuly’s creative journey.&nbsp; May 2–Nov 1Grand Rapids, MI<a href="https://www.meijergardens.org/" rel="noopener noreferrer" target="_blank">meijergardens.org</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302040/zcyb7euxxrtedn4o6s95.jpg"> <h3>Randolph Street Market Festival–&nbsp;</h3> Touted as a “mecca of cool,” the iconic Randolph Street Market&nbsp;Festival returns to the bustling West Loop, where the world-famous&nbsp;event first began at 1341 W. Randolph, over Memorial Day weekend . The premier destination for one–of–a–kind finds, the Randolph Street Market Festival offers an ultra-curated, high-quality selection of antiques, vintage and modern goods ranging from fashion to art, jewelry, décor, retro home furnishings, global goods and more. Treasure hunters&nbsp;and entertainment-seekers alike will be delighted by the continuous lineup of live musical acts, unique food vendors, fun cocktails and more to enjoy throughout the weekend. Another summer market takes place in July.&nbsp; May 23 and 24; July 25 and 26<a href="https://randolphstreetmarket.com/" rel="noopener noreferrer" target="_blank">randolphstreetmarket.com</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302041/b7doixxat1mzlvfue1zw.jpg"> <h3>Jeremiah Hulsebos-Spofford:&nbsp;Near Eternity–</h3><h3>Elmhurst Art Museum</h3> In his first exhibition at EAM, artist Jeremiah Hulsebos-Spofford presents a series of outdoor sculptures in Wilder Park as well as an immersive installation within the iconic McCormick House. Bridging handcrafted techniques and digital fabrication, featured works serve as a low-carbon alternative to traditional monumental sculpture as a way of reflecting on labor, materiality, the internet age, and architectural legacies. Near Immortality features new sculptures created from 3D scans of important design items in EAM’s collection. May 30–Aug 23<a href="https://elmhurstartmuseum.org/" rel="noopener noreferrer" target="_blank">elmhurstartmuseum.org</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302041/nvsxhkcbhnmrucfv0nlw.jpg"> <h3>Door County Contemporary –</h3> The Door County Contemporary Art Fair will be held at the Peninsula School of Art in Fish Creek, Wisconsin for the second year. The three-day program introduces art to art enthusiasts in Wisconsin, and it was born from the desire to address a lack of contemporary art in an otherwise culturally enriched and dynamic destination. DCC will host galleries from Wisconsin and beyond while welcoming thousands of art lovers from around the United States. It will also feature a wealth of site-specific art works and projects, plenty of Wisconsin-centric food and drink, and curated events and art-related projects. June 4–7Peninsula School of Art, Fish Creek, WI<a href="https://www.doorcountycontemporary.com/" rel="noopener noreferrer" target="_blank">doorcountycontemporary.com</a> # <h3>See CGN's full calendar <a href="https://www.chicagogallerynews.com/events?page=1" rel="noopener noreferrer" target="_blank">here</a></h3>

This Season’s Highlights: Spring/Summer 2026

By CGN Staff, Art + spring festivity + crazy candy creations is the Racine Art Museum's annual RAM PEEPS® Brand Art Exhibition art contest in a nutshell. RAM announced that thousands of guests visited the museum during the three-week run of&nbsp;<a href="https://ramart.us9.list-manage.com/track/click?u=286bbfcd21ba3ead3b774ac22&amp;id=34f7dce65d&amp;e=fdf4080af0" rel="noopener noreferrer" style="color: rgb(247, 143, 57);" target="_blank">RAM PEEPS® Brand Art Exhibition 2026</a>&nbsp;and made the "almost-impossible decision of choosing their favorite piece." Art-submissions often nod to current events, and this year after tallying more than 2,600 votes, RAM announced the winner of the coveted&nbsp;PEEPle’s Choice Award, Nancy Costello and Dave Strickland, for&nbsp;Peepal Conclave. Their piece wasn’t the only contender though. RAM also revealed the runners-up for PEEPle’s Choice:<ul><li>Second place: Laura and Steve Grayson,&nbsp;The Peepeux Tapestry: An Epic Bunny Adventure</li><li>Third place: Brittany Stalker,&nbsp;PEEPachu, I Choose You!</li><li>Fourth place: Addi Cooke, Hailey Cooke, Nana Julie Swanson, Auntie Jojo, Baba Del Swanson, and Auntie Hannah,&nbsp;The Three Little Peeps</li><li>Fifth place: Dawn Carillo and Michelle Kieweg,&nbsp;A Day at the Market</li></ul> <a href="https://ramart.us9.list-manage.com/track/click?u=286bbfcd21ba3ead3b774ac22&amp;id=0feb63c9c9&amp;e=fdf4080af0" rel="noopener noreferrer" target="_blank"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777348313/io3yfaelfxaw4jbmitcg.jpg" height="auto" width="313.5"></a> If you were unable to visit the exhibition in person, you can still experience it from the comfort of home through a&nbsp;<a href="https://ramart.us9.list-manage.com/track/click?u=286bbfcd21ba3ead3b774ac22&amp;id=9011c4b7fa&amp;e=fdf4080af0" rel="noopener noreferrer" style="color: rgb(247, 143, 57);" target="_blank">virtual tour on RAM’s YouTube channel</a>. If you’re interested in submitting a piece to be a future PEEPle’s Choice contender, stay tuned to RAM's newsletter and social media channels to be the first to know about next year’s sweet exhibition.

Racine Art Museum Announces 2026 PEEPS Winner

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777350921/ymnhnalqicefy4vftbsr.jpg"> By GINNY VAN ALYEA An art experience centered on scent may seem unexpected—but that sense of discovery is part of what makes the Alliance Française de Chicago’s 2026 Symposium on the Arts of France especially compelling. Titled Scent: The Invisible Art, this year’s three-part series considers fragrance as a creative medium—one that operates beyond the visual to shape memory, emotion, and perception. While the opening lecture took place in April, two upcoming programs continue the exploration, offering Chicago audiences an opportunity to engage with art through a more immersive, multisensory lens. The May 13 program, A Journey into the Artistry and Passion of Fragrance, features Linda G. Levy, President of The Fragrance Foundation, who frames scent as a form of artistic expression shaped by the vision of the perfumer. Drawing on the work of influential figures such as master perfumer Carlos Benaïm and fragrance curator Frédéric Malle, Levy explores the idea of “perfumery as art”—from Benaïm’s inspiration in Van Gogh’s Starry Night to Malle’s approach of composing fragrances as one might a work of art, giving perfumers complete creative freedom. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777350922/dtykbavpcpyetc77c3f5.jpg"> Her talk also traces connections between disciplines, comparing the perfumer’s palette of ingredients to the materials of painters and sculptors, while highlighting collaborations that translate scent into other forms, including graphic design, portraiture, and poetry. The program further touches on synesthesia—the blending of sensory experiences—inviting audiences to consider how fragrance might be perceived as color or emotion. The series concludes on June 10 with Senteurs et Émotions, led by renowned French perfumer Camille Goutal. Both lectures take place from 11:30 AM to 12:30 PM at the Alliance Française de Chicago and are presented in English. For more than two decades, the Symposium on the Arts of France has been a cornerstone of the Alliance’s cultural programming, bringing internationally recognized voices to Chicago while highlighting the enduring influence of French art and thought. This year’s focus on scent expands that tradition, offering a fresh perspective on how art can be experienced—and understood. A limited number of complimentary tickets are available for students, reflecting the Alliance’s commitment to accessibility and education. The series is offered in person and available online. More information and tickets are available at <a href="https://www.af-chicago.org/" rel="noopener noreferrer" target="_blank">af-chicago.org</a>.

A Three-Part Series on the Art of Scent Comes to Alliance Française de Chicago

<h3>Spring and summer offer a full slate of&nbsp;exhibitions across galleries and museums throughout&nbsp;the Midwest. Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. – CGN</h3> Read our 5TTT with Monique Meloche&nbsp;<a href="https://www.chicagogallerynews.com/articles/anticipating-a-season-of-art-five-to-talk-to-monique-meloche" rel="noopener noreferrer" target="_blank">here</a>.Read our 5TTT with “Easy” Otabor&nbsp;<a href="https://www.chicagogallerynews.com/articles/anticipating-a-season-of-art-isimeme-easy-otabor-anthony-gallery" rel="noopener noreferrer" target="_blank">here</a>. To subscribe to the spring/summer magazine click&nbsp;<a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" target="_blank">here</a>. <h3>Michelle T. Boone</h3><h3>–&nbsp;<a href="https://www.poetryfoundation.org/" rel="noopener noreferrer" target="_blank">President&nbsp;and CEO, the Poetry Foundation</a></h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777302468/b0dzw57y5qldijdb9p77.jpg"> “This April, which is National Poetry Month, Poetry magazine unveils Bold Type, a new design series. The poem “First Light” by CAConrad fills the Poetry Foundation’s exhibition space wall as the first iteration of the series. Bold Type encourages visitors to linger and reflect on Conrad’s piercing visual poem, from which the line “no one can afford to lose love” serves as the theme for our 2026 spring event season.&nbsp; Nothing says spring like EXPO Chicago, which I’m always excited about attending. It’s a great platform to see many Chicago galleries under one roof and get introduced to artists and galleries from around the world. But it’s also a time to explore neighborhood galleries, and at the top of my list is heading to the Hyde Park Art Center to see “Cyndey M. Lewis: Weeds Grow In All Directions.” Her work gives a whole new meaning to “...one man’s trash is another man’s treasure”, crafting rubbish, plastics, and paper into the most beautiful artworks.”

Anticipating a Season of Art: Michelle T. Boone – President  and CEO, the Poetry Foundation

<h3>Spring and summer offer a full slate of&nbsp;exhibitions across galleries and museums throughout&nbsp;the Midwest. Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. – CGN</h3> Read our 5TTT with Monique Meloche <a href="https://www.chicagogallerynews.com/articles/anticipating-a-season-of-art-five-to-talk-to-monique-meloche" rel="noopener noreferrer" target="_blank">here</a>. To subscribe to the spring/summer magazine click <a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" target="_blank">here</a>. <h3>Isimeme “Easy” Otabor&nbsp;</h3><h3>– <a href="https://anthonygallery.com/" rel="noopener noreferrer" target="_blank">Anthony Gallery</a></h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776223764/flritkilw8ggffaxmhvj.jpg"> "I’m looking forward to building on the momentum of our newly opened Anthony Gallery location in Amsterdam and continuing to expand its programming. The response to the space has been incredibly energizing, and we’re excited to deepen our presence there through thoughtful curatorial initiatives.&nbsp; At the same time, we’re preparing to extend that vision with plans to open a new space in Japan, creating further opportunities to connect artists and audiences across regions. Our goal has always been to establish a strong foundation in Chicago and grow outward strategically, and we’re accomplishing that in real time.” #

Anticipating a Season of Art: Isimeme “Easy” Otabor – Anthony Gallery

<h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776195255/vqifdosb1xmnldgyehio.jpg"></h3>Maurizio Cattelan and Myriam Ben Salah.&nbsp;Matthew Reeves/BFA.com <h3><a href="https://observer.com/2026/04/artist-maurizio-cattelan-renben-2026-renaissance-society-chicago/" rel="noopener noreferrer" target="_blank">Maurizio Cattelan Turned This Years RenBen Gala into a Silent Party</a></h3><h3> </h3>What a blessing to have silence not just available but imposed at an art event—to finally be able to focus on the experience of the art without the distraction of social interaction. For a writer like myself, who hopes for exactly that condition every time I visit a show, this year’s Renaissance Society gala in Chicago was simply perfect. “A lot of events mistake noise for energy, and I wanted to undo that confusion,” artist&nbsp;<a href="https://observer.com/person/maurizio-cattelan/" rel="noopener noreferrer" style="color: rgb(26, 26, 26); background-color: rgb(255, 255, 255);" target="_blank">Maurizio Cattelan</a>, who designed the event, tells me, adding that silence changes how people receive things. “It is not that communication stops altogether; it just becomes less efficient and more exposed. People write, they wait, they look longer.” To him, it felt like a good premise for an art event, though he acknowledged that many artists have engaged with silence far better than he ever could, from&nbsp;<a href="https://observer.com/person/john-cage/" rel="noopener noreferrer" style="color: rgb(26, 26, 26); background-color: rgb(255, 255, 255);" target="_blank">John Cage</a>&nbsp;to&nbsp;<a href="https://observer.com/person/joseph-grigely/" rel="noopener noreferrer" style="color: rgb(26, 26, 26); background-color: rgb(255, 255, 255);" target="_blank">Joseph Grigely</a>. “I was not trying to make a statement so much as interrupt an automatic behavior. A gala usually runs on social reflex, and silence makes that reflex visible.”<h3> </h3>Via Observer <h3><a href="https://www.artnews.com/art-news/market/expo-chicago-sales-vip-day-report-1234780810/" rel="noopener noreferrer" target="_blank">Dealers Are Doing Brisk Business at a Smaller and ‘More Intentional’ Expo Chicago</a>&nbsp;</h3> Tears of joy are not the first thing you expect to hear about at art fairs, but that was the order of the day for Tennessee artist Annie Brito Hodgin at Thursday’s VIP preview at the thirteenth edition of Expo Chicago (April 9–12), where she is showing her paintings with&nbsp;Red Arrow Gallery. Via ARTnews <h3> </h3><h3><a href="https://www.nytimes.com/2026/04/14/arts/design/lacma-peter-zumthor-los-angeles.html?unlocked_article_code=1.a1A.wcg8.MJ0AUVAlSjf9&amp;smid=url-share" rel="noopener noreferrer" target="_blank">Daring and Dazzling, a New LACMA Floats Above Los Angeles</a></h3> Forecasts were dire about what’s officially called the David Geffen Galleries, after the donor who gave $150 million. “The blob that ate Wilshire Boulevard,”&nbsp;<a href="https://www.architecturalrecord.com/articles/5897-the-blob-that-ate-wilshire-boulevard" rel="noopener noreferrer" style="color: rgb(50, 104, 145);" target="_blank">announced</a>&nbsp;Architectural Record in 2014. “Suicide by architecture,”&nbsp;<a href="https://lareviewofbooks.org/article/lacma-suicide-by-architecture/" rel="noopener noreferrer" style="color: rgb(50, 104, 145);" target="_blank">lamented</a>&nbsp;The L.A. Review of Books five years later.The building opens to museum members in the coming weeks and to the general public on May 4. I expect it will be wildly popular. Via NYT <h3><a href="https://www.wbez.org/arts/2026/04/11/black-collectors-guild-expo-chicago-diversity-in-art" rel="noopener noreferrer" target="_blank">At Expo Chicago, a crew of collectors bond over Black art</a></h3> For one group of collectors,&nbsp;<a href="https://chicago.suntimes.com/arts-and-culture/2026/04/03/expo-chicago-art-fair-obama-center-contemporary-galleries-navy-pier-tickets" rel="noopener noreferrer" style="color: rgb(4, 130, 130);" target="_blank">Expo Chicago</a>&nbsp;is not just an art fair but a family reunion. On Thursday afternoon, they trickled into Navy Pier’s Festival Hall, offering enthusiastic hugs and handshakes. The cohort included everyone from health care professionals to military veterans, who traveled from Washington, D.C., Atlanta, Kansas City, Mo., and other major cities. Before touring the galleries, they gathered in the center of the venue for a champagne toast to “building together.” Via WBEZ

What We're Reading: April 14, 2026

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776203157/pxun6r1q9zeswfo2zf9y.jpg">A detail view of the installation of painted stained glass by artist Julie Mehretu By CGN Staff The Obama Foundation has announced the final group of major artist commissions for the Obama Presidential Center, set to open June 19 on Chicago’s South Side. The newly revealed artists—Njideka Akunyili Crosby, María Magdalena Campos-Pons, Jeffrey Gibson, Rashid Johnson, Hugo McCloud, Martin Puryear, Lorna Simpson, and Norman Teague—will contribute large-scale, site-specific works across the 19.3-acre campus. The commissions expand an already robust roster of artists and underscore the Center’s mission to integrate art into civic life. Valerie Jarrett, CEO of the Obama Foundation, emphasized that the artworks are intended to “deepen visitors’ curiosity and inspiration,” while reflecting shared values and encouraging community engagement. Installed throughout gathering spaces, exhibition areas, and outdoor environments, the works draw on a wide range of materials and cultural references—from Indigenous drum-making traditions to Afro-Asian Cuban symbolism and conceptual photography. Together, they embed narratives of place, identity, and collective memory into the daily experience of the Center. Highlights include a layered portrait of President and Mrs. Obama by Njideka Akunyili Crosby; María Magdalena Campos-Pons’ immersive interpretation of the White House Rose Garden; and Martin Puryear’s monumental sculpture Bending the Arc, inspired by the legacy of John Lewis and the ongoing pursuit of justice. Rashid Johnson’s mosaic Broken Men and Jeffrey Gibson’s politically charged installation Yet With a Steady Beat further explore themes of community and cultural expression. Chicago-based designer Norman Teague contributes a series of sculptural wooden benches rooted in South Side traditions, while Lorna Simpson’s atmospheric “Ice” work and Hugo McCloud’s layered painting reflect on memory, landscape, and personal history.“These artists…showcase the depth and breadth of President and Mrs. Obama’s commitment to public art,” said Dr. Louise Bernard, founding director of the Center’s museum, noting that the works will transform public spaces into sites of “reflection, joy, and connection.” The Obama Presidential Center will include a museum, library, garden, athletic facilities, and public programming spaces. Its art program—featuring more than 30 artists in total—continues the Obamas’ vision of the “People’s House,” extending their White House legacy of cultural openness and public engagement into a new civic landmark. More info at <a href="https://obama.org/visit/grand-opening/" rel="noopener noreferrer" target="_blank">Obama.org</a>

Obama Presidential Center Announces Final Major Artist Commissions

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776121427/qka5vhmala60qrah6uei.jpg">Visitors to EXPO CHICAGO Thursday afternoon during preview hours By GINNY VAN ALYEA <a href="https://www.expochicago.com/" rel="noopener noreferrer" style="color: rgb(13, 13, 13);" target="_blank">EXPO CHICAGO</a> 2026 wrapped with a steady energy that held throughout the week—consistently busy, but not overwhelming, and with a sense that people were there to look closely and engage. Early sales set a confident tone: GRAY reported placements including Theaster Gates’s 3 Women (2025) at $340,000, works by Candida Alvarez at $100,000 and $55,000, Torkwase Dyson at $55,000, McArthur Binion at $35,000, and a Rashid Johnson work at $25,000. Secrist | Beach, meanwhile, placed Luftwerk’s Open Frame (2025) with the Nelson-Atkins Museum of Art at $150,000, underscoring strong institutional activity from the outset. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776121428/dt0iynns5f6kpkcbkjtb.jpg">A viewer studies Luftwerk's work at SECRIST | BEACH This year’s edition felt more streamlined, and that shift paid off. The fair was easier to navigate, and the overall rhythm encouraged longer conversations and repeat encounters. Familiar collectors were out in force, but there was also a noticeable presence of new faces—always a promising sign for the city’s ecosystem. Across the floor, the quality of work felt strong and cohesive. What stood out most, though, was a subtle but persistent thread: many artists seemed to be looking toward nature. In some cases it was direct—landscapes, organic forms, environmental references—but just as often it came through in palette, with earthy tones and atmospheric color dominating booth after booth. It’s a direction that feels very much in sync with the current moment, as artists continue to process instability, climate concerns, and a broader cultural shift toward reflection and recalibration. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776121430/hebk2pyhshg36h5jbbnf.jpg">Youngwook Choi, Galley Dasun, Korea There was also a stronger sense of curatorial intention this year, with more tightly conceived presentations and projects that added texture without overwhelming the fair. Institutional presence felt particularly active, and conversations around placements and future collaborations seemed to be happening at every turn. As Sibylle Friche, Partner at DOCUMENT, noted, “The 2026 edition of EXPO was a real success for us; we placed several artists from our program into good collections. We enjoyed meeting new clients and connecting with the many curators participating in the curatorial and directors' program.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776121431/ecsu4qfut860mhbgnrlo.jpg"><a href="https://www.regenprojects.com/artists/aliza-nisenbaum" rel="noopener noreferrer" style="background-color: rgb(255, 255, 255); color: rgb(136, 136, 136);" target="_blank">Aliza Nisenbaum</a> at a joint booth by Regen Projects and Anton Kern. Nisenbaum will have a monumental mural at the Obama Presidential Center when it opens. That sense of momentum extended to galleries across the fair, alongside positive feedback from collectors and museum groups. Valerie Carberry, President &amp; CEO of GRAY, pointed to the impact of new leadership, noting that Director Kate Sierzputowski’s first year has brought “dynamic partnerships” that reflect the collaborative energy Chicago is known for. Sales remained steady across a wide range of price points, with a mix of major placements and quieter, consistent activity—another indicator of a healthy, engaged market. Outside of the commercial market, EXPO also gave an early preview of the Obama Presidential Center's June opening, inviting fair visitors to view a scale model of the campus and to look more closely at works that have been commissioned for the collection. Taken together, this year’s EXPO CHICAGO felt grounded but optimistic: a fair that’s refining its identity while staying closely attuned to both its audience and the larger cultural climate shaping the work on view. Through its collaboration with the Obama Presidential Center, EXPO CHICAGO presented&nbsp;Embodiment,&nbsp;a curated section by&nbsp;Dr. Louise Bernard,&nbsp;Founding Director of the&nbsp;Obama Presidential Center Museum. The section presented a selection of galleries inspired by the architecture and commissioned artists of the Obama Presidential Center, offering visitors an early preview ahead of the Center's public opening on June 19, 2026.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776121432/n6cvihvqqbruh4merh25.jpg">An installation of work by Melissa Leandro at Andrew Rafacz's booth Strong programming of course continues to be an important and centralizing element of EXPO CHICAGO. Curated by&nbsp;Katie A. Pfohl of the Detroit Institute of Arts,&nbsp;Focus&nbsp;highlighted emerging galleries and artistic practices, creating an accessible entry point to the fair. Titled&nbsp;Gathering of Waters, the section explored landscape, migration, and adaptive practices of craft and care, connecting artists and galleries from the Mississippi River Basin with work from across the African, Latin American, and Caribbean diasporas. Curated by&nbsp;Essence Harden,&nbsp;Profile&nbsp;presented solo booths and focused group projects by established international galleries, offering depth, context, and sustained engagement. The fair’s success has always mattered to Chicago and the broader Midwest art community, and even in a year without some of its usual components—like the nonprofit and print sections—its role remains essential. EXPO continues to serve as a central gathering point and calendar anchor, around which so much of the season takes shape, from the RenBen to the Intuit Art Museum gala, alongside the return of Barely Fair and the debut of Neighbors in the Gold Coast. It’s worth recognizing how important that consistency is—and to be grateful for the continued evolution of the fair under new leadership and ideas. # <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1776121433/z3epe9i5nbwgw2y0rmek.jpg">Michael DuMontier and Neil Farber at Patel Brown from Montreal

EXPO CHICAGO 2026: Focused, Busy, and In Step

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775670246/jyceod0gd0nkivw8wkxh.jpg">Photos by CGN By CGN Staff The sixth edition of the <a href="https://chicagoarchitecturebiennial.org/" rel="noopener noreferrer" target="_blank">Chicago Architecture Biennial</a>, SHIFT: Architecture in Times of Radical Change, wrapped up earlier this year and marked a significant evolution for the international exhibition—extending beyond traditional venues into public spaces across Chicago and broadening access to architecture, design, and civic dialogue. Organizers report millions of engagement opportunities citywide, underscoring the Biennial’s growing reach and impact. A forthcoming catalogue, set for release this summer, will document the full scope of installations, programs, and global perspectives that shaped this milestone edition. While the Biennial has concluded, its influence continues through reinstalled works, ongoing conversations, and new initiatives still to come. By the numbers: The Biennial brought together 100+ artists and designers from 30+ countries, with 80+ installations presented in partnership with 86 organizations. Additional programming included 30+ partner exhibitions and 90+ public programs across Chicago. Digital engagement reached 7,700+ Bloomberg Connects users and 12,000+ onsite QR scans. A catalogue documenting the full scope of SHIFT will be released this summer. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775670247/kogdlo4imksirha9yqub.jpg"> CAB Currently on View Latinitudes: A Collection of Modern Latin Architecture April 2–July 18 | Graham Foundation Featuring more than 100 photographs by Leonardo Finotti, Latinitudes surveys modern architecture across 12 Latin American cities. Curated by Michelle Jean de Castro, the exhibition continues the Biennial’s focus on Latin American architecture.

Chicago Architecture Biennial’s “SHIFT” Announces Final Numbers

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775526730/pnfvcskghmzw9iztbkxq.jpg">Mark Wagner, Self-Styled, 2 color Letterpress print, Edition of 25, 17.5 x 22”, 2024. Published by Bert Green Fine Art. Note: this article appears in CGN's spring/summer 2026 magazine. To purchase a print copy or subscription <a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" style="color: rgb(136, 136, 136);" target="_blank">click here</a>. By JACQUELINE LEWIS Prints have always held an interesting place in the art world. They can introduce new collectors to artists and galleries while also offering seasoned collectors the opportunity to pursue works by artists whose paintings or sculptures might otherwise be out of reach. In 2026, prints continue to occupy this wide range of roles within the art market. At the same time, shifts in the art fair landscape, particularly between events like EXPO Chicago and IFPDA Print Fair, are influencing where print dealers, galleries, and publishers choose to show their work. Looking at these decisions offers a window into the current state of prints, the collectors who buy them, and the spaces where they are most often encountered today. Prints – Thriving in the 2026 Art Market In 2026, prints occupy a solid and increasingly visible position within the global art market. Jessica Cochran from <a href="https://process-process.com/" rel="noopener noreferrer" target="_blank">Process/Process</a> has noticed, “The art market has cooled. Of course some of this is geopolitics and economic pressures, but some see this as a correction. Prices just got too high, and so now we are seeing a rebalancing happening higher up in the market. I don’t know that this has affected prints too much. I mean, most of the print market is well below $20,000 (or even $10,000!) where I think the collectors are still showing up and market data does indicate that.” Statistics back up her experience. The segment of the market under $50,000, where most prints and editions are priced, has grown steadily, with prints and multiples now accounting for roughly 7% of overall art market share and rising. There is a varying accessibility to prints that can attract a wide audience. New art collectors often begin their journey through prints since their nature often lowers the price since there are multiple copies available for purchase. As Jonathan Higgins of <a href="https://mannekenpress.com/" rel="noopener noreferrer" target="_blank">Manneken Press</a> states, “I have had families come to print fairs to purchase a first piece for their child’s collection, newlywed couples choosing a piece for their home. It is precisely because of the lower prices of prints that collectors can focus on pieces that really speak to them, rather than letting investment value enter into the equation.”&nbsp; Deborah Maris Lader and Lauren Steinert, Co-Directors of <a href="https://chicagoprintmakers.com/" rel="noopener noreferrer" target="_blank">Chicago Printmakers Collaborative</a>, say they see a varied group of people walking through their doors in search of prints. To them contemporary artists have been selling, while once more established print artists from the 80’s are seeing a decline in market value. That being said, prints can sell for high prices and attract seasoned collectors. The fact that there may be multiple copies does not mean all prints are accessible for all buyers. Artists such as Rembrant Van Rijn, Albrecht Dürer, and many others are known printmakers with works that can be valued in millions of dollars, depending on quality. Collectors of these artists often look for early print impressions (pieces printed before the press was used many times, as evidenced through the quality of the line work) and highly preserved paper.&nbsp; Some print collectors work tirelessly to complete a collection. For example, there are collectors set on acquiring all prints in Dürer’s Life of the Virgin series of 19 woodcuts from 1500–1510 or his Apocalypse series of 15 woodcuts from 1498. Others are forever on the hunt for another Rembrandt to add to a collection. Prints are often the only works available to collectors because paintings and drawings by artists at this level have values high enough they are limited to museums or rare collections. Collectors in this market relied on R. Stanley Johnson at R.S. Johnson Fine Art, an Old Master and Modern Prints dealer in Chicago for decades. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775526730/eexdlbke1xwxz8dgsc9r.jpg">Hiroshi Ariyama demonstration of screen printing at Chicago Printmakers Collaborative during Open House Chicago Fairs &amp; Influence on the Market in General Print collecting attracts a wide variety of art enthusiasts, from those just starting out to premier collectors, and in each case it’s prints that allow engagement with artists and artworks that may otherwise be out of reach in another medium like painting or sculpture. One major way that new collectors are exposed to the opportunities of prints, and collecting in general, is through fairs like IFPDA Print Fair in New York City and at EXPO Chicago. Over the years, foot traffic to art galleries has declined as online spaces for collecting have grown. This can be a great method for more experienced collectors to add to their oeuvre but it makes it more difficult for new collectors to learn about their possibilities and for galleries, dealers, and publishers to expand their clientele. Art fairs can play a huge role in finding and developing new collector relationships. Bert Green of <a href="https://bgfa.us/" rel="noopener noreferrer" target="_blank">Bert Green Fine Art</a> speaks on how integral, for better or worse, fairs have become to galleries. “Unfortunately, fairs have become one of the only ways to reach new collectors, as the primary way that many collectors engage with galleries is at fairs (if they are not already connected to the gallery). I have been in business for almost 27 years and have seen walk-in traffic largely disappear due to the internet and the pandemic. I’ve reduced my open hours to a minimum and the vast majority of people who come in reach out first and make an appointment. Random visitors and spontaneous discussion are much rarer than they once were.”&nbsp; Green states that it can be rough to rely so heavily on fairs because, “At their core they are fundamentally real estate operations and not curatorial projects. Galleries are somewhat constrained by them in that they need to get exposure via fairs, but the high cost is very risky. I’ve seen young galleries splurge on fairs thinking they would sell well only to find that they face insolvency. On the other hand, many established galleries thrive in the fair system. It’s complicated.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775526731/g0z7xkd9vbrartlaxysl.jpg">Bert Green Fine Art’s booth at EXPO CHICAGO in 2025 Cochran from Process/Process feels that fairs are incredibly important to publishers. “They allow us to introduce our program to new collectors which is crucial. Each fair offers a slightly different opportunity to contextualize our work. At EXPO, for example, we could show our limited edition prints by artists like Candida Alvarez or Michelle Grabner (and others) who had paintings or art on view in other booths at the fair. This allowed us to tell the story of print and what we do: not only is our print an expression of that artist’s practice in the form of an original, signed artwork, but also it is probably more affordable (accessible) to more collectors.” With all of this in mind, it can be incredibly important for exhibitors to choose the correct fair to reach their target audience. There are a multitude of factors that print sellers consider when determining whether or not to show at an art fair. Most dealers I spoke with agreed about the top factors: cost and audience. Jonathan Higgins owns Manneken Press in Bloomington, Illinois and is a veteran at fairs. Most of the 31 he says he has attended since 2008 are independent (meaning they are not owned by a parent corporation like Frieze) because those tend to be very highly priced. “It has taken me years of trial and error to determine which art fairs are right for me,” he says. “One of the main considerations, of course, is cost.” Due to the nature of most print prices, dealers need to sell many impressions to be sure that they at least break even. Audience is also important. In a broader fair with many types of media, print booths can offer dealers an unique opportunity to inform and teach art enthusiasts about printmaking and its value, while print–specific fairs can be a great way to find active print collectors who may not be familiar with a specific gallery or publisher. Either way, before purchasing an expensive booth, dealers want to be sure that their art would be of interest for the audience of the fair and that it will meet the dealer’s goals for the show. Collector engagement is key. Other aspects Higgins considers are a fair’s reputation, regional market, location, and exhibitor list. He also cares how fair management takes care of exhibitors. If a fair is only taking booth money, he says, and not supporting exhibitors, with marketing, services or programming, it becomes less worth the cost and time, though he acknowledges that is hard to determine before arriving. Finally, there are travel logistics, costs and fair timing to balance. This year the IFPDA Print Fair in New York City is running simultaneously ith EXPO Chicago. Other than large galleries with massive inventory and a larger staff, most dealers had to choose one over the other, with the IFPDA fair considered very important to print galleries.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775526732/kfclin3fiob4cumlapn3.jpg">Left: Glenn Goldberg: Empyrean (1), 2026. Etching and aquatint, edition of 20. Image size:“18 x 12”, sheet size: 27” x 20”. Published by Manneken Press.Right: Glenn Goldberg: Empyrean (2), 2026. Etching and aquatint, edition of 20. Image size: “18 x 12”, sheet size: 27” x 20”. Published by Manneken Press. IFPDA and EXPO CHICAGO – Direct Competition and the End of EDITIONS For the first time since 2014, EXPO Chicago will no longer offer its Editions + Books showcase. The section, which included 11 exhibitors in 2025, offered galleries that show a diverse array of print media and object-based practices a space to show their work at a lower rental cost. This was a benefit utilized by exhibitors such as Bert Green Fine Art, F.L. Braswell Fine Art, Process/Process, Chicago Printmakers Collaborative, Manneken Press, and the MCA, all from Illinois, as well as spaces as far away as Berlin and Dublin. Tandem Press, from Madison, Wisconsin was not part of Editions + Books last year, but they are a long-standing exhibitor at EXPO and they are opting to participate at IFPDA instead this year.&nbsp; The elimination of Editions + Books has shaken up plans for exhibitors who are used to showing at EXPO. Green is concerned what this means for the Chicago print community. “I had always participated in the Editions section and found it to be reliably consistent, with excellent engagement and sales. I am unable to participate [in EXPO] now because I would have to pay the higher booth cost. I’m also concerned that there is no decent alternative for the print community in Chicago. It would be very useful if there were a new, standalone print fair. I am hoping to work with some print publisher colleagues to make that happen.” Lader and Steinert of Chicago Printmakers Collaborative are also not exhibiting at EXPO due to the end of Editions but are considering other ways to continue showing a broader audience their prints. “We liked EXPO because it put printmaking on the international stage, and we easily held our own amongst the broader art world spectrum. We also did well financially,” says Lader. “We are disappointed to lose that opportunity this year, but we will continue to look for a way to bring more attention to the beauty of etching, lithography, screenprinting, monoprint, relief, and experimental and photo print processes to the world.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775526733/xhozbolrdspwjxvkafx4.jpg">Alice Tippit, Flute, 2024. $ 1,800.00 (framed from $2,250). Courtesy of Process/Process Some dealers are opting to exhibit at IFPDA Print Fair instead. Higgins needs the fair to kick-start his revenue for the year. “Sales have been pretty sluggish these first two months of 2026. I will be exhibiting at IFPDA in April and hope that I, and my fellow exhibitors, do okay.” He also mentions that the IFPDA Print Fair is a great fair to be a part of and that the organization has a stellar reputation and promotional team.&nbsp; For Higgins, “EXPO Chicago was the pillar around which I built my publishing and fair schedule. The IFPDA fair has now taken that place. As the landscape of art fairs changes and the economy shifts, I may look more toward fairs run by dealer organizations, IFPDA, NADA, etc., which prioritize their exhibitors, rather than corporate entities whose motives can be pretty obscured.” Despite shifts in the broader art market and the changing structure of art fairs, prints remain one of the most accessible ways for collectors to engage with art and are often a gateway for those new to collecting as well as a means of deepening an area of interest for seasoned collectors. Prints are sure to balance the space between accessibility and expertise, beautifully connecting a wide range of collectors with artists’ work.&nbsp; #

Prints, Prints, Prints: Accessibility, Sales, Exposure and Fairs

The weekend of EXPO CHICAGO, April 8–12, invites you to engage with art in a once-a-year setting in Chicago, even if you never even make it to the fair. It’s the time of year, throughout the city, when new exhibitions open, special presentations are on view, there are talks, tours, satellite fairs, coffees, parties, even a cake social. The CGN team has a few dates we won’t miss.&nbsp;We hope to see you there!&nbsp; View CGN's full calendar <a href="https://www.chicagogallerynews.com/events?filter=upcoming&amp;page=1" rel="noopener noreferrer" target="_blank">here</a>, updated daily! – CGN Staff <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437177/gr2pbfgw5yqnwdpcbgmb.png"> <h3><a href="https://www.chicagogallerynews.com/events/renben-2026" rel="noopener noreferrer" target="_blank">RenBen 2026</a></h3> This year’s RenBen for the Renaissance Society is a&nbsp;silent dinner party.&nbsp;Curated by Italian artist Maurizio Cattelan, dinner is at the Chicago Athletic Association. Guests will see what happens when there is no small-talk, or&nbsp;any talk at all... April 8, 7–10pm <h3> </h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437178/yssxzivsvcc1m4upcshj.jpg"> <h3><a href="https://www.chicagogallerynews.com/events/vernissage" rel="noopener noreferrer" target="_blank">EXPO Vernissage</a> </h3> EXPO CHICAGO’s Vernissage benefit offers a first look at the fair and supports the MCA. It starts at 10am and is by invitation. Tickets may also be purchased for additional times and days.&nbsp; April 9 <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437179/mdbta4qt886d42hltlt2.jpg"> <h3><a href="https://www.chicagogallerynews.com/events/life-is-an-art-iam-the-party" rel="noopener noreferrer" target="_blank">IAM The Party</a></h3> Art: IAM the party&nbsp;is the most exciting way to celebrate Intuit’s 35th anniversary and the 1st birthday of the expanded Museum. Honoring Nick Cave, Bob Faust and Jerry Stefl. Intuit Art Museum April 10 <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437181/fbawcwcyu8wipbumrhg0.jpg">Deborah Koo <h3><a href="https://www.chicagogallerynews.com/events/material-offering-by-deb-koo" rel="noopener noreferrer" target="_blank">VSG Cake Social</a></h3> VSG Contemporary opens an exhibition of Deborah Koo’s tantalizing cake paintings and&nbsp;Mason Pott’s lush works featuring assemblages of fruits, vegetables and flowers. Luckily gallery owner Allan Weinberger is serving cake from 12–5pm.&nbsp;CGN will be there, so stop by to say hi and enjoy some cake! April 11, 12–5pm <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437181/x3uuc80b6glpifvgosf2.jpg">Lou Beach <h3><a href="https://www.chicagogallerynews.com/events/pieces-too-short-to-save-a-survey-of-contemporary-collage" rel="noopener noreferrer" target="_blank">An Exhibition Honoring Tony Fitzpatrick</a></h3> SoNA Chicago Art Gallery is hosting Pieces Too Short to Save: A Survey of Contemporary Collage that honors the late Tony Fitzpatrick. The group show features works created by the artist’s friends. The opening on April 11 will also feature poetry readings by Fitzpatrick's family and friends. Reception April 11<h3> </h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437182/xm4faghdcftl79psslx8.jpg">Western Exhibition's 2026 Barely Fair booth <h3><a href="https://www.barelyfair.com/" rel="noopener noreferrer" target="_blank">Barely Fair</a></h3> BARELY FAIR's 2026 edition of Chicago's international 1:12 scale art fair returns, operated by JULIUS CAESAR artist collective and includes 30 artist-run spaces, commercial galleries, and curatorial projects from around the world. April 3-19 <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437182/ii0sfkygzr4kxmqjvwnv.jpg"> <h3><a href="https://www.neighbors.art/" rel="noopener noreferrer" target="_blank">Neighbors</a></h3> A new art fair, called Neighbors, will take place in a 1,200 square foot Gold Coast apartment in a historic building designed by Howard Van Doren Shaw. The satellite fair is the vision of a Chicago collector who wants to show art in a domestic setting. Several galleries from Chicago art participating, as well as others from around the country. April 8–12

CGN Around Town, Spring 2026

<h4>Spring and summer offer a full slate of&nbsp;exhibitions across galleries and museums throughout&nbsp;the Midwest. Behind the scenes, many people in the community are working tirelessly to support artists and bring fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. – CGN</h4> <h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775437601/kgzaf7amz6kezlsi2awi.jpg"></h3><h3> </h3><h3>Monique Meloche – moniquemeloche</h3> “We are so excited that two of our artists are included in the prestigious Biennale de Venezia opening this May in Italy.&nbsp;Lavar Munroe will co-represent The Bahamas and Ebony G. Patterson is included “In Minor Keys” posthumously curated by Koyo Kouoh in the Central Pavilion.&nbsp;We have not properly celebrated Ebony being named a MacArthur Genius since she was busy with her co-Artistic Director duties for Prospect.6 in New Orleans last year.&nbsp;Thrilled to finally have the occasion to fete her, Lavar, former moniquemeloche artist and SAIC alum Carrie Schneider also included “In Minor Keys”, as well as Sanford Biggers and Maia Cruz Palileo in an auxiliary exhibition sponsored by Denniston Hill in Venice.&nbsp; Following our 25th anniversary extravaganza in 2025 we will host Cheryl Pope at the gallery during EXPO Chicago and can’t wait for our out-of-town supporters come to the fair, gallery, and our 15th annual private Pizza+Prosecco Party at our home!” <a href="https://www.moniquemeloche.com/" rel="noopener noreferrer" target="_blank">moniquemeloche.com</a>

Anticipating a Season of Art: Five to Talk to – Monique Meloche

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1777306664/jhvb6fcprwb2l3s0yw4a.jpg">On the cover:&nbsp;<a href="https://www.chicagogallerynews.com/articles/andrea-carlson-mapping-new-futures" rel="noopener noreferrer" style="color: rgb(136, 136, 136);" target="_blank">Andrea Carlson</a>.&nbsp;Pictured: The Host, 2025,&nbsp;Detail view. Courtesy of the&nbsp;artist and Jessica Silverman.&nbsp;Photo: Philip Maisel. By GINNY VAN ALYEA There has been a collective interest lately in everything analog. After years of living in an always-monitored, notification-saturated world many of us understand how constant digital attention can steal time and focus. It’s no surprise that people are beginning to seek out spaces and objects that offer a purposeful, slower, tactile disconnection. I’m encouraged to see a renewed interest in ephemera that draws people offline and, hopefully, toward a lasting commitment to the ecosystem of support that comes from engaging with artists and their ideas. One generation tends to repeat the natural cycle of rediscovering what appealed in the past — I’m waiting for Swatch phones, celebrity magazine collages, mix tapes, and thrift store corduroys to make a comeback any day now — but more than nostalgia, the desire to have objects and images that are personal, interesting to observe and touch, even repurpose or pass along, speaks to the particular satisfaction of making something common into something else unique through creative modification.&nbsp; Encountering art conceived and made real by human imagination is an important social connection. In this issue of CGN, we highlight places and exhibitions we hope you’ll see in person. William Lieberman reflects on the 50-year history of <a href="https://www.chicagogallerynews.com/articles/zollalieberman-a-golden-vision-for-a-50th-anniversary" rel="noopener noreferrer" target="_blank">Zolla/Lieberman Gallery</a> and the many relationships that have sustained it across generations. What might sound old-fashioned about how the gallery began is also what some of us now find ourselves longing for: spontaneous lunches, cheap wine, good old-fashioned cold-calling, and pavement pounding. Sending emails into the void isn’t fulfilling. I know William will use his Rolodex to mail copies of this issue to his many friends — glad there is a printed magazine to page through and share. We also look ahead to the June opening of the Obama Presidential Center, the first center of its kind to emerge from a digital presidency but designed to bring visitors together in a physical space — not just to sightsee, but to connect and experience commissioned public works by some of today’s most important contemporary artists. Collector Kate Neisser shares her personal approach to discovering, falling in love with, and living with art that can surprise her. It’s what fills her home with life.&nbsp; I often say there isn’t enough time to see everything. But there may be more time than we think — if we make the effort to choose how we spend it. # To subscribe to CGN and receive the Spring/Summer 2026 magazine <a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" target="_blank">click here</a>

Publisher’s Letter: Spring 2026

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774995014/ulhdhy7wyykjcc93whoz.jpg"> <a href="https://www.chicagogallerynews.com/events/geometries-in-light" rel="noopener noreferrer" target="_blank">Geometries In Light</a>Exhibition begins April 2Pistachios Contemporary Art Jewelry and Objects <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774995015/xiufqbgcmyucpeb4blo6.jpg"> <a href="https://www.chicagogallerynews.com/events/teaching" rel="noopener noreferrer" target="_blank">Teaching</a>Opening: Saturday, April 4, 5:00 PM – 7:00 PMPerspective Photo Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774995016/wr7mgmq5hox7jwphziks.jpg"> <a href="https://www.chicagogallerynews.com/events/the-presidents-18th-annual-art-exhibition2026" rel="noopener noreferrer" target="_blank">The President’s 18th Annual Art Exhibition</a>Exhibition begins April 2Wadsworth Family Gallery at Lewis University <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774995017/tzz7mvbc7vff6czwbvcu.png"> <a href="https://www.chicagogallerynews.com/events/a-view-from-above" rel="noopener noreferrer" target="_blank">David Keel: The View From Here</a>Opening: Friday, April 3, 5:00 PM – 7:00 PMVivid Art Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774995017/mk4xwbrliauqoklguj4p.jpg"> <a href="https://www.chicagogallerynews.com/events/on-rock-soft-matters-curating-slowness-and-reconnection-through-the-visual-arts" rel="noopener noreferrer" target="_blank">On Rock-Soft Matters: Curating Slowness and Reconnection through the Visual Arts</a>Opening: Saturday, April 4, 6:00 PM – 8:00 PMSeldon Institute

New Exhibitions Open April 1 - 4 (Part I)

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775004811/x6mpilykax6uzd1q6u0a.jpg"> <a href="https://www.chicagogallerynews.com/events/monoprint-one-of-a-kind" rel="noopener noreferrer" target="_blank">Monoprint: One of a Kind</a>Opening: Thursday, April 2, 5:00 PM – 8:00 PMChicago Printmakers Collaborative <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775004812/cgkvvxa98bik0opzjasc.jpg"> <a href="https://www.chicagogallerynews.com/events/girl-talk-by-lindsey-kircher" rel="noopener noreferrer" target="_blank">Girl Talk by Lindsey Kircher</a>Opening: Friday, April 3, 5:00 PM – 9:00 PMOliva Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775004813/bmzz4lp55144acmxg748.jpg"> <a href="https://www.chicagogallerynews.com/events/alison-ruttan-the-paradox-of-inaction" rel="noopener noreferrer" target="_blank">Alison Ruttan: The Paradox of Inaction</a>Exhibition begins April 4Hyde Park Art Center <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1775004814/mbueszvqgze9637rnyhh.jpg"> <a href="https://www.chicagogallerynews.com/events/cydney-m-lewis-weeds-grow-in-all-directions" rel="noopener noreferrer" target="_blank">Cydney M. Lewis: Weeds Grow in All Directions</a>Exhibition begins April 4Hyde Park Art Center

New Exhibitions Open April 1 - 4 (Part II)

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774401338/wiljzyxplrehzsenspk4.jpg">Elise Seigenthaler Publisher's Note: This interview is featured in CGN's spring/summer magazine. To purchase a copy or subscribe in print <a href="https://chicagogallerynews.myshopify.com/" rel="noopener noreferrer" style="color: rgb(136, 136, 136);" target="_blank">click here.</a> By JEFFERSON GODARD You are all cordially invited to the housewarming of a new gallery in town. After ascending to the second floor of 1709 W Chicago, you will be welcomed into the space of Elise Seigenthaler Gallery and her inaugural show, Housewarming which offers “paths through memory, material, and imagination.” Artworks by emerging artists Amira Diaw, Rebekka Federle, Ava Peterson, and Olivia Porter include tightly cropped photographic-like paintings capturing intimate scenes alongside large drippy renderings of both domestic and regal interiors on paper and canvas. Sitting close by these painted works are wooden sculptures representing the family dog. About this exhibition, Seigenthaler states, “I wanted the first show to feel warm and welcoming. Art is for everyone and everyone should feel welcome.” Seigenthaler is unique in her delicate yet deliberate approach, while setting a nuanced and narrative-based theme for shows that will cajole the Chicago gallery public. A graduate of SAIC who is also armed with a “Rhona-Diploma,” Seigenthaler is a native Chicagoan born to artists parents of French and Southern roots equipped with a keen eye for what will make an impact on the Chicago art world. *<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774401338/clghsl9twtcwjovdyqnd.jpg">Installation of Housewarming at Elise Seigenthaler Gallery. Photography by Charlie Young. Jefferson Godard (JG): Housewarming serves as both a means of introduction and a welcoming gesture. What was your impetus for opening a gallery?&nbsp; Elise Seigenthaler (ES): The gallery had been something that I was thinking of while working with Rhona. Chicago is such a great city and adding to the art ecosystem here was paramount to me. Then, when Volume Gallery’s became available [because they moved nearby to 1700 W. Hubbard], this served as a catalyst for me to open my space. And, on a personal level, my dad’s sudden passing also made me realize how short life was and the need to seize the moment.&nbsp; JG: As for your formal training, you are a graduate of The School of the Art Institute of Chicago (SAIC), but you began your studies in France. ES: I am half French and having spent my first 17 years in Chicago, I wanted to explore life in France. It was a wonderful way to explore my ancestry and also proved to be very cost-effective. I studied video and photography at Atelier d’Sevres in Paris where the program was focused on building portfolios for higher art education, like the Beaux-Arts or Arts Decoratifs. However, instead of continuing my studies there, I used my work to enter SAIC. In retrospect, France gave me discipline and structure, while SAIC offered me more conceptual freedom.JG: Upon graduating, your first foray into the commercial gallery work was working for the venerable Rhona Hoffman. What drew you to work for Rhona Hoffman? ES: Rhona and the history of the gallery were always so impressive to me. It was my goal to work there and being part of this legacy. Rhona proved to be generous and trusted us immensely. She also empowered her interns and assistants, and even though our team was small, there were more opportunities to grow and carve out a role for yourself.&nbsp; JG: You described your experience of being Director of Rhona Hoffman as a ‘Rhona-diploma.’ Tell me more about the Rhona-diploma? What are the entry requirements and course load, and what did you get out of it? ES: I often joked that working for Rhona was like getting a “Rhona-Diploma” or “RHG PHD” because it felt much like an education but one that no formal program could replicate. The entry requirements are curiosity, stamina, and humility, but ultimately you must have thick skin. As for the course load, you get relationships with artists, museums, as well as collectors. Plus, one of the outcomes is that you learn how to make decisions quickly. And the learning curve did not only come from Rhona. The previous director, Julia Birka-White, and Rhona’s right-hand for over 20 years, Ben Gill, all helped me understand the gallery and what it needed to function. I left armed with confidence and a well-honed sense of standards. What I also learned from Rhona is that art and artists are paramount; everything else follows.&nbsp; JG: Now that you have your own space, what is your focus and what do you want out of the gallery? &nbsp; ES: There is an echo in Chicago of ‘we need more spaces’ and I want to be a host for Chicago artists. My primary focus is on Chicago-based artists, while also introducing artists from other cities. I strive to create a balanced program that is open to all media, with some emphasis on expressive and figurative-based works. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774401339/d5vpvmomhbiambq54vwf.jpg">Installation of Housewarming at Elise Seigenthaler Gallery. Photography by Charlie Young. JG: You mentioned that you want to represent artists from early to mid-career, but that you want to take it cautiously, which you likened to ‘dating.’ Can you elaborate here as well as share some of your plans for the immediate future? ES: When I say dating, it’s like a long-term commitment. It’s not just about loving one work but about really understanding and getting behind the artist’s vision. Like any partnership, we need to share the same values and have good communication. And much like a romantic relationship, we also need to trust each other implicitly.&nbsp; Also, it is how these relationships serve as the foundation for the gallery. The support from the artists, collectors, gallerists, and friends at the very start really help shape the gallery. And I’m very grateful for these relationships and their support. This first year’s program will be dedicated to group exhibitions, each built around a different theme. In fact, our next show is titled “Before We Knew Better,” and will include artists Sarah Bedford, Day Brièrre, Josiah Ellner, and Lea Le Floc’h.&nbsp; As for the future, I would like to participate in art fairs, bring on a staff, and one day have a second location in Paris. After all, one has to dream! <a href="https://eliseseigenthaler.com/" rel="noopener noreferrer" target="_blank">eliseseigenthaler.com</a> #

Elise Seigenthaler Gallery: A New Arrival Opens in West Town

<h3>DePaul Faculty, Artists Put Pressure On University To Save Art Museum</h3> DePaul professors, students and community members are calling on the university to save its art museum after administrators abruptly&nbsp;<a href="https://blockclubchicago.org/2026/02/26/depaul-art-museum-closing-in-june-its-a-huge-loss/" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">announced their decision to close the Lincoln Park institution last month</a>. In&nbsp;<a href="https://openletter.earth/letter-opposing-the-closing-of-dpam-f02e5d5a?limit=0" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">an open letter</a>&nbsp;penned by philosophy professor Sean Kirkland and fellow faculty, thousands of DePaul community members, artists, curators and more signed on to oppose the museum’s closure. Since its publication Feb. 28, the letter has received nearly 3,800 signatures. <a href="https://blockclubchicago.org/2026/03/20/depaul-faculty-artists-put-pressure-on-university-to-save-art-museum/" rel="noopener noreferrer" target="_blank">Via Block Club Chicago</a><h3> </h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774381087/hz5yw5mzp4edkiieq9og.jpg">Alyssa Quinlan<h3> </h3><h3>Alyssa Quinlan, Former CEO of Freeman's Auctions Moves to Northern Trust</h3> Northern Trust announced: "We’re pleased to announce that <a href="https://www.linkedin.com/in/alyssaquinlan/" rel="noopener noreferrer" style="color: rgb(10, 102, 194);" target="_blank">Alyssa Quinlan</a> has joined Northern Trust Wealth Management as Head of Advisor Relationships &amp; Strategic Partnerships. In this role, Alyssa will lead our strategy for engaging with professional advisors, strengthening collaboration with key law, accounting and advisory firms across our global platform. Bringing 25 years of experience across wealth management, private banking and fine art, Alyssa will also partner with The Northern Trust Institute to help establish an art advisory practice, expanding our ability to advise clients on tangible personal property. We’re excited to welcome Alyssa and look forward to the impact she’ll have as we continue to deepen our advisor ecosystem." <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774381088/d5ala3pi2fyblejlgi8v.png">Esme food images – L-R, clockwise:&nbsp;Watermelon, Clay, Dover Sole <h3>Esmé Announces Latest Artist Collaboration</h3> <a href="https://www.esmechicago.com/" rel="noopener noreferrer" style="background-color: transparent;" target="_blank">Esmé</a>, the renowned, MICHELIN-starred, mission-driven restaurant from husband-wife team&nbsp;Chef Jenner Tomaska&nbsp;and&nbsp;Katrina Bravo&nbsp;has partnered with the acclaimed Southern-born, self-taught painter, sculptor and entrepreneur,&nbsp;<a href="https://www.instagram.com/ashleylongshoreart/" rel="noopener noreferrer" style="background-color: transparent;" target="_blank">Ashley Longshore</a>, for their newest menu and multi-sensory dining experience. The menu features favorite dishes offered throughout the last five years at Esmé – such as&nbsp;Mother of Pearls, with Japanese white sweet potato and kombu ice cream served within a custom Mother of Pearl bowl, crafted by Chicago’s&nbsp;DTK Ceramics; and&nbsp;Clay, featuring squab with foie sausage, morels, fermented barley jus, huckleberry puree, salsify, and ramps, presented in clay which is cracked tableside – reimagined through the vibrancy of Longshore’s artistic sensibility and singular point of view. The tasting menu is showcased alongside Longshore’s distinctive works of bold and colorful pop art, which line the walls of Esmé’s dining room and transform the restaurant into an immersive, pop-up gallery space. Launching timed to Women’s History Month, portraits on display feature luminaries across a wide range of fields – such as Malala Yousafzai, Oprah Winfrey, Greta Thunberg, and Chicago’s own former First Lady of the U.S., Michelle Obama. <h3> </h3><h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774381088/dcgrni2gmsukc7bkokst.jpg"></h3>Amos Paul Kennedy, Jr.; photo courtesy of the National Public Housing Museum <h3>National Public Housing Museum Announces Next Artist in Exhibition Series</h3> <a href="http://nphm.org/" rel="noopener noreferrer" style="color: rgb(0, 0, 0);" target="_blank">The&nbsp;National Public Housing Museum</a> announced it has commissioned celebrated “citizen printer”&nbsp;Amos Paul Kennedy, Jr. as the next artist in its&nbsp;Housing for All, Art for All, Posters for the People&nbsp;series, an ongoing initiative that bridges the legacy of the Works Progress Administration (WPA) posters to urgent conversations about housing today. Kennedy will create three new works advocating for housing as a human right.&nbsp; More than a dozen of Kennedy’s letterpress posters will be displayed in the Museum’s Living Room space, with additional copies available free to Museum visitors, reflecting Kennedy’s commitment to making print work that is accessible, shareable, and grounded in community. “Amos’s prints are an expression of collective joy, and uncompromising and unapologetic messages about justice, equity, and the power of people to collectively create a better world for all of us,” said&nbsp;Lisa Yun Lee, Chief Curator and Executive Director of the National Public Housing Museum. “His ethos is rooted in movement building, and the still-radical idea that art should be accessible to all. His works are an exuberant addition to the museum’s commitment to artists and extension of the ongoing&nbsp;Housing for All, Art for All, Posters for the People exhibition.” <h3>Old Town Art Fair Returning for 76th Year</h3> Chicago’s legendary&nbsp;<a href="http://www.oldtownartfair.org/" rel="noopener noreferrer" target="_blank">Old Town Art Fair</a>&nbsp;returns to the heart of the historic&nbsp;Old&nbsp;Town&nbsp;Triangle&nbsp;HistoricDistrict (Main Gate at the intersection of Lincoln and Wisconsin Streets) on&nbsp;Saturday and Sunday,&nbsp;June 13 and 14, 2026.&nbsp;Established in 1948, the Old Town Art Fair is one of Chicago’s oldest juried art fairs and one of the first fine art fairs of its kind in the country. For fifty years, two events have been held in Old Town on the second weekend in June; the Old Town Art Fair and the Wells Street Art Festival are separate events.&nbsp;Organized by the non-profit&nbsp;Old Town Triangle Association&nbsp;and completely volunteer-run, this year’s Fair will be the most festive in its milestone 76-year history, attracting over 230 artists from across the country plus live music on two stages; an array of classic Chicago food and beverage options from local vendors; a dedicated Children’s Corner featuring interactive activities and crafts for kids; and the return of self-guided Garden Walks in over 50 gardens in the Old Town Triangle neighborhood.&nbsp;Annually, the Fair introduces artists to an estimated 30,000 art lovers over the course of the two-day event.

CGN Art World Recap: March 24, 2026

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1774385778/udghrafdvyhabbyf4b72.jpg"> By CGN Staff Mayor Brandon Johnson today announced the nomination of Deputy Mayor Kenya Merritt as Commissioner of the Department of Cultural Affairs and Special Events (DCASE), following her service as acting commissioner since October 2025. Merritt brings more than 25 years of experience in city government and has served as Deputy Mayor of Business, Economic, and Neighborhood Development since 2023. “From the start of my administration, Deputy Mayor Kenya Merritt has delivered steady leadership and real results for the people of Chicago,” Johnson said. “Her experience supporting small businesses and neighborhood development, paired with her commitment to arts and culture, make her well positioned to lead DCASE.” “I’m honored and excited to step into this role,” Merritt said. “The arts are essential to the vibrancy of our neighborhoods and our city, and I’m committed to investing in Chicago’s creative ecosystem and supporting artists and cultural organizations.” Merritt steps into the role following the departure of former commissioner Clinée Hedspeth, whose tenure ended amid criticism from staff and members of the arts community regarding workplace culture and leadership at the department. Since becoming acting commissioner, the announcement says, Merritt has emphasized arts and culture as a driver of Chicago’s economy, with a focus on supporting artists and organizations, activating public spaces, and expanding the city’s cultural reach. As Deputy Mayor, she has led key elements of Johnson’s economic agenda, including the “Cut the Tape” initiative to streamline development processes and the implementation of the city’s $1.25 billion Housing and Economic Development Bond. Previously, Merritt served as First Deputy Commissioner and Chief Small Business Officer at the Department of Business Affairs and Consumer Protection, and held financial leadership roles across city government, including Chief Financial Officer at DCASE and the Department of Family and Support Services. Merritt holds a master’s degree in public service management from DePaul University and a bachelor’s degree from the University of Illinois at Urbana-Champaign. There is no mention of Merritt having previously worked for or led any arts-focused organizations. Merritt's <a href="https://www.linkedin.com/in/kenya-merritt/details/experience/" rel="noopener noreferrer" style="color: rgb(13, 13, 13);" target="_blank">LinkedIn</a> profile shows she has worked for the City of Chicago in various department as far back as 2000, except for a period of eight months when she worked for the Pritzker Traubert Foundation as a program officer from 2022-2023. The appointment is subject to City Council approval. March 24 lawsuit update: WBEZ reported that a former top deputy at the city’s Department of Cultural Affairs and Special Events has filed a whistleblower lawsuit against the City of Chicago and the department’s leader, alleging she was subject to a “concerted campaign of professional isolation and the systematic stripping of her duties.” The wrongful termination lawsuit filed Friday in Cook County Circuit Court by Rosalyn Kimberly (“Kim”) Grigsby, DCASE’s former first deputy, names Kenya Merritt, who has been DCASE’s interim leader since October. <a href="https://www.wbez.org/city-hall/2026/03/23/chicago-dcase-deputy-whistleblower-lawsuit-kenya-merritt-wrongful-termination" rel="noopener noreferrer" target="_blank">Details here. </a>

Mayor Johnson Nominates Kenya Merritt as DCASE Commissioner

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1773840261/vegh1rvo7ptckkgs8maa.jpg">Pritzker Director Madeleine Grynsztejn. Image: Maria Ponce. By GINNY VAN ALYEA The Museum of Contemporary Art Chicago (MCA) <a href="https://visit.mcachicago.org/madeleine-grynsztejn-announcement/" rel="noopener noreferrer" target="_blank">announced</a> on March 17 that Pritzker Director Madeleine Grynsztejn will step down at the end of 2026, closing out an 18-year tenure that reshaped the museum’s profile in Chicago and far beyond. Grynsztejn joined the MCA in 2008 and has since led a period of major growth and visibility for the institution. During her tenure, the museum tripled its endowment, nearly doubled its operating budget, and broadened its audiences and partnerships—while placing a strong emphasis on accessibility and artist-centered programming. The MCA Board of Trustees will begin an international search for its next director in spring 2026. Grynsztejn will remain in her role until a successor is appointed. “Madeleine is one of the defining museum leaders of her generation,” said Board Chair Bill Silverstein. “Her leadership elevated the MCA to new heights while keeping it deeply connected to Chicago. From the museum’s renovation to initiatives like the Bilingual Initiative and Women Artists Initiative, her impact has been lasting and far-reaching.” In a statement, Grynsztejn reflected on her time at the museum: “It has been the privilege of a lifetime to serve as the MCA’s Pritzker Director. I’m deeply grateful to the artists, audiences, and colleagues who made this work possible.” She noted that, as the MCA approaches its 60th anniversary in 2027, the transition comes at a natural moment for new leadership to shape the institution’s next chapter. Under Grynsztejn, the MCA organized major exhibitions and retrospectives with artists including Kerry James Marshall, Takashi Murakami, Doris Salcedo, Nick Cave, and Virgil Abloh, alongside widely attended shows featuring David Bowie, Ólafur Eliasson, Yoko Ono, and Luc Tuymans. The museum also launched its Ascendant Artist series, offering early museum presentations to artists such as Rashid Johnson, Christina Quarles, and Wafaa Bilal. She also oversaw significant growth of the MCA’s collection through major gifts, including the D.Daskalopoulos Collection (shared with the Guggenheim), the Arthur Jafa film archive, and contributions from collectors Marilyn and Larry Fields and Helen Zell. Several key initiatives took shape during her tenure, including the Women Artists Initiative—dramatically increasing representation of female-identified artists—and the Bilingual Initiative, aimed at making the museum more accessible to Chicago’s Spanish-speaking communities. In 2017, Grynsztejn led an $82 million campaign tied to the MCA’s 50th anniversary, which funded the redesign of public spaces, including the Commons. More recently, she secured a $10 million Performance Fund to support live arts programming and continues to guide the museum’s Next Strategic Plan. Beyond the MCA, Grynsztejn serves as President of Museums in the Park and is a past president of the Association of Art Museum Directors. She was named a Knight of the French Legion of Honour in 2015. Before arriving in Chicago, Grynsztejn was Senior Curator at the San Francisco Museum of Modern Art and curated the 1999–2000 Carnegie International. Born in Lima, Peru, she was raised in Caracas and London, and holds degrees from Columbia University and Tulane University. Read CGN's 2023 interview with Grynsztejn <a href="https://www.chicagogallerynews.com/articles/mca-director-madeleine-grynsztejn-on-chicago-as-flash-point-and-flashlight" rel="noopener noreferrer" style="color: rgb(13, 13, 13);" target="_blank">here</a> #

MCA Director Madeleine Grynsztejn Announces Departure After 18 Years At Museum

<h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1773759421/a1ucjcbgi3dxffgsgoog.jpg"></h3>This Banksy mural of a man&nbsp;scrubbing his back in a bathtub appeared in 2022 on a wall of a destroyed&nbsp;building in the Ukrainian village of Horenka. The mural piqued the interest of a Reuters journalist, setting off an effort&nbsp;to identify and understand the elusive artist. REUTERS/Gleb Garanich<h3> </h3><h3><a href="https://www.reuters.com/investigates/special-report/global-art-banksy/" rel="noopener noreferrer" target="_blank">In Search of Banksy</a></h3> The British street artist’s identity has been debated, and closely guarded, for decades. A quest to solve the riddle took Reuters from a bombed-out Ukrainian village to London and downtown Manhattan — and uncovered much more than a name. Via Reuters <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1773759421/k0dzkzxuhrbanuj4jirp.jpg">Installation shot of the Sopranos exhibition at the Museum of Moving Image. Photo: Thanassi Karageorgiou/Museum of Moving Image. <h3><a href="https://news.artnet.com/art-world/the-sopranos-momi-exhibition-2754605" rel="noopener noreferrer" target="_blank">Behind the Scenes of ‘The Sopranos’: A New Exhibition Revisits TV’s Favorite Mob Drama</a></h3> A new show at the&nbsp;Museum of Moving Image&nbsp;(MoMI), “<a href="https://movingimage.org/event/stories-and-sets-for-the-sopranos/" rel="noopener noreferrer" style="color: rgb(31, 31, 31); background-color: rgb(255, 255, 255);" target="_blank">Stories and Set Designs for The Sopranos</a>,” captures the urgent energy channeled by Chase and his team of collaborators as they turned daring pilot into a show that would pave the way for a golden age of television. Via Artnet <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1773759422/ggujneoxq3fiuzfzmrnh.jpg">For the Serpentine Pavilion installation, he balanced a light-filtering fiberglass shell on hulking, rough-hewed stones. Credit...Iwan Baan <h3><a href="https://www.nytimes.com/2026/03/12/arts/design/smiljan-radic-pritzker-prize-architecture.html" rel="noopener noreferrer" target="_blank">A Chilean Master of Modest Design Wins Architecture’s Top Prize</a></h3> Wind. Light. Stone. Timber. Time. These are some of the essential elements that infuse the work of Smiljan Radic of Santiago, Chile, the winner of this year’s Pritzker Prize, architecture’s highest honor. The announcement of the laureate had been delayed by revelations about the connection between Tom Pritzker, the director of the foundation that awards the prize, and Jeffrey Epstein, the disgraced financier. Via NYT

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