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

West Town

Wisconsin

IL • MI • IN

West Loop, Fulton Market, East Garfield Park

West Loop and West Side

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

Suburbs

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

North Side

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

Michigan Avenue

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

South Side

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

River North

PATRON is proud to present our first solo exhibition,&nbsp;All water has a perfect memory, with Chicago-based artist Lindsay Adams.&nbsp;Titled in reference to Toni Morrison’s “The Site of Memory,” an essay exploring the nature of memory and narrative truth specifically in context of the historic Black American experience, Adams’s presentation of new paintings and drawings on both paper and mirror tile, metaphorizes the fluid nature of water as a means to extend her own exploration of memory, emotional truth, and place.&nbsp;<a style="color: rgb(255, 255, 255);" rel="noopener noreferrer" href="mailto:info@patrongallery.com?subject=Lindsay%20Adams%20%7C%20preview%20request%20" target="_blank">Inquire Here</a>Image: LINDSAY ADAMSUntitled (The Site of Memory, Morrison #3), 2025Ink, graphite, charcoal, pen, oil paint on paper22 1/4" x 30"Framed:&nbsp;25 1/2" x 33 1/4" x 1 3/4"&nbsp;LA010

Lindsay Adams: All water has a perfect memory

PATRON is proud to announce&nbsp;Caroline Kent: The Sentimental Hand, our second solo exhibition with the Chicago-based artist.&nbsp;The Sentimental Hand&nbsp;results from a year in which Kent’s focus returned to honing in on the building blocks of her practice, starting with cut paper forms–the elementary facet of her practice. Celebrating the role of the artist’s own hand as foundational in each stage of her creative process, the exhibition unites four bodies of work across which Kent has been concurrently working for the past year.&nbsp;<h4>&nbsp;</h4><a style="color: rgb(255, 255, 255);" rel="noopener noreferrer" href="mailto:info@patrongallery.com?subject=Caroline%20Kent%7C%20preview%20request%20" target="_blank">Inquire Here</a> Image: CAROLINE KENT&nbsp;A cordial invitation to whimsy and mayhem, 2025Acrylic on Belgian linen, ebonized walnut&nbsp;30 3/8"&nbsp;x 36 3/8" x 2"&nbsp;CK151

Caroline Kent: The Sentimental Hand

SECRIST | BEACH is&nbsp;pleased to announce the exhibition&nbsp;Master Class: Inside the Last American Museum School with SAIC Painting Alumni.&nbsp;Master Class&nbsp;brings together artworks by over 60 former and current students who studied in the Painting and Drawing Department of the School of the Art Institute of Chicago (SAIC) between the years 2000 and 2025. This exhibition, on view from April 19 through June 21, 2025 at SECRIST | BEACH in Chicago, is guest-curated by art historian, Chair of the Department of Painting and Drawing and current faculty member Lisa Wainwright along with SAIC President Emerita, Elissa Tenny. The gallery will host an opening reception for the public on Saturday, April 19 from 5-8PM.&nbsp;In 1866 a group of 35 artists founded the Chicago Academy of Design. Their mandate was to create a free school to study “life” and “antique” drawing and to run a gallery space alongside the school. The building the original gallery space occupied was lost in the Great Chicago fire of 1871, but by 1879 a new gallery space, with the support of new board members, was born and renamed the Chicago Academy of Fine Arts. In 1882, that name was changed to&nbsp;what we know as&nbsp;the Art Institute of Chicago. Since that time, the School and the Art Institute have grown into a symbiotic dynamic that has&nbsp;greatly impacted both the Chicago scene and the larger art world&nbsp;in myriad ways.&nbsp;&nbsp;&nbsp;On the eve of its 160th anniversary, and little known to many, the School of the Art Institute of Chicago is the last 'Museum School' in North America. In celebration of this achievement,&nbsp;Master Class&nbsp;dives into the close connection between the museum and the alums of its renowned Painting and Drawing Department from the last 25 years. On view in the gallery will be an artwork by each of the artists selected, taking up the entirety of the gallery’s 10,000 sq. ft. space. In addition to their own artwork, each artist has been asked to identify an artist and a work of theirs from the collection of the Art Institute. Didactics and a video presentation on view in our salon room will guide viewers to those works in the collection.&nbsp;&nbsp;Curating this exhibition has reminded us - and will express to viewers - the integral and generative link between the school and the museum, highlighting the long histories of public collections and art-making in Chicago. Some of the connections between the artwork on view and their chosen Art Institute collection include a Tony Lewis drawing and Stuart Davis’&nbsp;Ready-to-Wear&nbsp;(1955), Jeffly Gabriela Molina’s painting with Agnes Martin’s&nbsp;Untitled No. 12&nbsp;(1977), Minami Kobayashi’s painting and Pierre Bonnard’s&nbsp;Earthly Paradise&nbsp;(1916-1920).What becomes apparent in&nbsp;Master Class&nbsp;is the indelible impact these master artworks have provided for two and a half decades of art students. Contextually, placing these works into close proximities allows the viewer to comprehend the role a museum has in the cognitive&nbsp;and technical&nbsp;development&nbsp;of artists. Ultimately, the engaging&nbsp;pairings provide&nbsp;insight into the role of looking,&nbsp;sensorial consciousness,&nbsp;historical mapping,&nbsp;institutional awareness and other more surprising discoveries.&nbsp;This exhibition serves as a&nbsp;tangible experience for anyone interested in art history and pedagogy. CATALOGUE:&nbsp;In recognition of the importance of this monumental exhibition, SECRIST | BEACH is developing a comprehensive catalogue that will provide valuable insight regarding&nbsp;Master Class.&nbsp;Many&nbsp;participating artists&nbsp;have&nbsp;provided their own writing in which they expound on their experience as a student, their relationship with SAIC and why the master artwork they chose was impactful. A cadre of art historians, critics and academics connected to SAIC will also be contributing essays that focus on individual artists and their inspiration. Additionally, art historian and co-curator of&nbsp;Master Class&nbsp;Lisa Wainwright and artist and SAIC&nbsp;Crown Family&nbsp;professor Michelle Grabner will contribute introductory essays diving into the history of the relationship between the School and the Institute,&nbsp;and the placement of twenty-five years of production in the context of contemporary art. SCHOLARSHIP:At the conclusion of&nbsp;Master Class, Carrie Secrist and Bill Beach will be presenting a gift to The School of the Art Institute to support future students and their endeavors in learning.&nbsp; Artists featured in&nbsp;Master Class&nbsp;include:Lindsay Adams, Noelle Africh, Luke Agada, Alberto Aguilar, Latifa Alajlan, Cecilia Beaven, Aviv Benn, Samantha Bittman, Elijah Burgher, Robert Burnier, Nik Cho, Alex Bradley Cohen, Jeane Cohen, Paula Crown, Chelsea Culprit, Tavin Davis, Dana DeGiulio, Austin Eddy, Stephen Eichhorn, Peter Fagundo, Nicola Florimbi, Howard Fonda, Jae Ford, Jonathan Gardner, Magalie Guérin, Antonia Gurkovska, Efrat Hakimi, Andrew Holmquist, Mika Horibuchi, Patrick Dean Hubbell, Steven Husby, Omair Hussain, G.D. Johnson, James Kao, Em Kettner, Minami Kobayashi,&nbsp;Meredith Kopelman,&nbsp;David Leggett, Tony Lewis, MJ Lounsberry, Wangari Mathenge, Kristoffer McAfee,&nbsp;Rodney McMillian, Isabella Mellado, Emily Miller, Jeffly Gabriela Molina, Aliza Nisenbaum, Angel Otero, Ruth Poor, Kaveri Raina, Autumn Ramsey, Celeste Rapone, Josh Reames,&nbsp;Clare Rojas, Sterling Ruby, Charlotte Saylor, Claire Sherman,&nbsp;Sumakshi Singh, Cameron Spratley, Keer Tanchak, Sebastian Thomas, Alice Tippit, Orkideh Torabi, Pedro Trueba, Cody Tumblin, Omar Velázquez, Jonathan Worcester, Hiejin Yoo and Molly Zuckerman-Hartung.

Master Class: Inside the Last American Museum School with SAIC Painting Alumni 

Image: Willie Kohler, Keep On Rowing, 2024, oil on canvas, 52 x 48 inches

 Willie Kohler: There Are Many Nows 

Curator: Fiona CashellCall for art: <a rel="noopener noreferrer" href="https://www.arcgallery.org/calls-for-entry-archive/call-for-entries-home" target="_blank">https://www.arcgallery.org/calls-for-entry-archive/call-for-entries-home</a>

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GRAY is pleased to announce&nbsp;Apparitions,&nbsp;presenting the work of over twenty pioneering artists from across the last century whose interrogations of the human form and its fleeting presence have pushed boundaries of representation. Whether by dematerializing the body, imagining spirits, or making mirages, artists conjure a hallucinatory realm—a liminal space between what appears and what vanishes. Exhibited artists include Magdalena Abakanowicz, Huma Bhabha, McArthur Binion, Roger Brown, Jean Dubuffet, Alberto Giacometti, Ewan Gibbs, Ann Hamilton, Reggie Burrows Hodges, Rashid Johnson, Alex Katz, David Klamen, Jim Lutes, Ana Mendieta, Sandra Mujinga, Trevor Paglen, Naudline Pierre, Jaume Plensa, Susan Rothenberg, Mira Schor, Evelyn Statsinger, John Storrs, Kara Walker, and Wilmer Wilson IV. Apparitions&nbsp;will be on view at GRAY Chicago (2044 W. Carroll Ave.) from April 25 through June 27, 2025. The exhibition will open with a reception 6–8PM on Friday, April 25. Image: Kara Walker,&nbsp;Ten Opaque Micro-regressions, 2023. Courtesy of the artist and Sikkema Malloy Jenkins, New York

Apparitions

Born in Mexico, but raised in Colombia, Stinkfish has been honing his skills on the streets of his hometown of Bogota since an early age. He first experimented with stencils in 2003 and has since perfected his own, unique style. His murals always have a stenciled portrait at their center. These portraits are taken from photos that the artist shoots during his travels around the world. They are faces that catch his eye, but not people he approaches and talks to. Another source is found photographs; either discovered lying on the streets or bought at flea markets. He fashions large format stencils based on these photographs, which on the street are then amended by impromptu, colorful halos.

Stinkfish: Prickly portraits of a fragmented world

I'm pleased to invite you to&nbsp;Symbiotic Struggles: Lichen and Coral, a new exhibition featuring paintings by Margot McMahon and Sandra Wilcoxon that explores the fascinating parallels between two of nature's most remarkable symbiotic organisms. We'd be delighted if you could join us for the opening reception on Saturday, April 19, from 12:00 p.m. to 4:00 p.m. at the Ukrainian Institute of Modern Art. The exhibition runs through June 29, 2025. Image: Sandra K. Wilcoxon,&nbsp;Fringed Rosette Lichen 2, 2025, Physcia stellaris, Candelaria concolor,&nbsp;Hyperphyscia adglutinata, 12 x 15 in. framed, Watercolor&nbsp;

Symbiotic Struggles: Lichen and Coral

Image: Natural Selection, Alan Emerson Hicks, Found object, stickers and paint on board, 13.5"×13.5"

Alan Emerson Hicks

No People A Sick Fisher Solo Show

No People” A Sick Fisher Solo Show

Mau Mau is a renowned British urban graffiti artist who’s gained an international following with his humorous street, print and graffiti work. He incorporates political, environmental and cultural commentary to his work – often with his trademark character of a mischievous and fun loving Fox. With roots planted in surf and country vibes of the North Devon coast, Mau Mau brings an air of rural sophistication to the art he has been creating for twenty years. He has painted his way around the world, his artwork appearing on everything from shipwrecks to surfboards and billboards to city walls. Mau Mau has produced work for World Land Trust, Greenpeace, Surfers Against Sewage and the Glastonbury Festival, and for record companies such as Ninja Tunes and Lowlife Records. He is the architect of cult brands Sewerside Boardwear and Fear Trade. His street work can also been seen all over the world including the UK, Jamaica, Thailand and Australia. He has had sold out exhibitions in the UK, Japan and Thailand.

Mau Mau Solo Show

Summer Group Exhibition including:Flor FloresDaniel HojnackiD. Rosen

Summer Group Exhibition: Flor Flores, Daniel Hojnacki, and D. Rosen

Alex Chitty

Carmen Winant

Image: Akemi Nomo,&nbsp;LifeTime ( 人间，人間 )Photo credit: Industry of the Ordinary

Industry of the Ordinary Summer Residency 2025 Exhibition 

Arts of Life makes a triumphant return to Art on the MART,&nbsp;the world’s largest permanent digital art projection.&nbsp;In collaboration with students from the University of Chicago, we will introduce our artists’ work to a broad audience of locals and visitors on this iconic Chicago building along the riverwalk. Location: Merchandise Mart (72 E Randolph St Floor 1, Chicago, IL 60601)

Art on the MART

Location: Epiphany Center (201 S Ashland Ave, Chicago, IL 60607) Our celebrations culminate at our annual Benefit Auction featuring a curated auction of contemporary artworks by Arts of Life artists and other celebrated artists.&nbsp;This jubilant party is not to be missed.

25th Anniversary Benefit Auction

New Works by Vidvuds Zviedris

May 23, 2025–January 11, 2026 Public Preview:&nbsp;Friday, April 25, 11 a.m.-7 p.m.&nbsp;&nbsp;&nbsp;Catalyst: Im/migration and Self-taught Art in Chicago,&nbsp;the first exhibition to open in Intuit’s newly-renovated museum, is part of Art Design Chicago, a citywide collaboration initiated by the Terra Foundation for American Art that highlights the city’s artistic heritage and creative communities.&nbsp; Catalyst: Im/migration and Self-taught Art in Chicago&nbsp;is the first major exhibition to focus on the importance of immigration and migration in the genre of self-taught art. The exhibition underscores the creative contributions of migrants and immigrants,&nbsp;broadening the scope to include artists deserving of greater attention, while posing questions about access to the art world and how art comes to be defined and valued. Considering artists in the context of their migration experience, cultural backgrounds and communities invites new insights into their work. Chicago, a city with a significant and ongoing history of immigration and migration, is fertile ground for investigating the rich array of academic and nonacademic influences—cultural, communal and familial—that enrich artistic production.&nbsp;The exhibition aims to be inclusive of the experiences of immigrants and migrants while acknowledging social and legal differences.&nbsp;&nbsp; Catalyst: Im/migration and Self-taught Art in Chicago&nbsp;explores catalysts for leaving home, for coming to Chicago and for pursuing an art practice.&nbsp;The range of personal and political subject matter and artistic styles reflects artists processing distinct cultural traditions, memories and experiences of living far from one’s homeland. Themes in the artworks range from belonging and longing for homeland, to labor and individual expression, to bearing witness to history, to assimilation.&nbsp; The narrative centers on the rise of self-taught art in Chicago during the second half of the 20th century, opportunities for artists leading up to this time, and the continued importance of im/migration and self-taught art to Chicago today.﻿Image credit: Derek Webster, American, born Puerto Castilla (Republic of Honduras), raised in Belize City (British Honduras, now Belize), 1934-2009. Untitled (Turtle with up-turned head), 1990. Paint on found wood and found materials, 12 x 19 x 30 in. Collection of Intuit Art Museum, gift of Madeline Murphy Rabb, 2021.6

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