Featured Events in Chicago in April, 2025 (May Updated)

Unveiling Frida Kahlo’s work for the first time in the Art Institute galleries, this exhibition focuses on the celebrated Mexican artist’s first and only trip to Europe and her brief yet pivotal encounter with Mary Reynolds, an American avant-garde bookbinder who stood at the center of a rich Parisian artistic community. Drawing upon the extensive Mary Reynolds Collection at the Art Institute of Chicago and extraordinary Kahlo loans from public and private collections in the US, Mexico, and Europe, the presentation sheds light on this little-known chapter of 20th-century art history, recounting the legacies of Kahlo and Reynolds—both artists themselves and partners of artists—as they navigated Surrealism, identity, and cross-cultural exchange on the eve of World War II.

Renowned multimedia artist Dieter Roth’s preferred form, and the one he spent his lifetime pursuing, was the Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.

Wafaa Bilal: Indulge Me is the first major survey of internationally renowned artist Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY). Working in performance, sculpture, and with online and interactive technologies, Bilal’s interdisciplinary practice investigates the dynamic between international and interpersonal politics while highlighting the tension between his home in the United States, which he has deemed the “comfort zone,” and the “conflict zone” of Iraq. The exhibition covers the breadth of Bilal’s versatile career by exploring his performance practice, the use of power in Saddam Hussein’s regime, and Iraqi history and antiquity. It will feature archival displays of his iconic month-long performance Domestic Tension (2007) and year-long performance 3rdi (2010–11), as well as two new works including a sculptural commission for the MCA.

From large-scale figures of gods and goddesses to portraits of emperors and magnificent funerary monuments, this exhibition brings to North America, for the first time, a selection of 58 rarely seen ancient Roman sculptures from Italy’s storied Torlonia Collection.Nearly half of these sculptures, which range in date from the 5th century BCE to the early 4th century CE, have not been publicly displayed in more than 70 years and have been newly cleaned, conserved, and studied specifically for this exhibition, making for a spectacular opportunity to experience their first public presentation in decades. The Torlonia Collection is not only the largest private collection of Roman marble sculptures in Italy, but it is also arguably the most important of such private collections in the world. Comprising 622 works and a wide range of sculptural types and subjects, its holdings rival those of major institutions in Europe, including the Capitoline and Vatican Museums.

From large-scale figures of gods and goddesses to portraits of emperors and magnificent funerary monuments, this exhibition brings to North America, for the first time, a selection of 58 rarely seen ancient Roman sculptures from Italy’s storied Torlonia Collection.Nearly half of these sculptures, which range in date from the 5th century BCE to the early 4th century CE, have not been publicly displayed in more than 70 years and have been newly cleaned, conserved, and studied specifically for this exhibition, making for a spectacular opportunity to experience their first public presentation in decades. The Torlonia Collection is not only the largest private collection of Roman marble sculptures in Italy, but it is also arguably the most important of such private collections in the world. Comprising 622 works and a wide range of sculptural types and subjects, its holdings rival those of major institutions in Europe, including the Capitoline and Vatican Museums.

Unveiling Frida Kahlo’s work for the first time in the Art Institute galleries, this exhibition focuses on the celebrated Mexican artist’s first and only trip to Europe and her brief yet pivotal encounter with Mary Reynolds, an American avant-garde bookbinder who stood at the center of a rich Parisian artistic community. Drawing upon the extensive Mary Reynolds Collection at the Art Institute of Chicago and extraordinary Kahlo loans from public and private collections in the US, Mexico, and Europe, the presentation sheds light on this little-known chapter of 20th-century art history, recounting the legacies of Kahlo and Reynolds—both artists themselves and partners of artists—as they navigated Surrealism, identity, and cross-cultural exchange on the eve of World War II.

Unveiling Frida Kahlo’s work for the first time in the Art Institute galleries, this exhibition focuses on the celebrated Mexican artist’s first and only trip to Europe and her brief yet pivotal encounter with Mary Reynolds, an American avant-garde bookbinder who stood at the center of a rich Parisian artistic community. Drawing upon the extensive Mary Reynolds Collection at the Art Institute of Chicago and extraordinary Kahlo loans from public and private collections in the US, Mexico, and Europe, the presentation sheds light on this little-known chapter of 20th-century art history, recounting the legacies of Kahlo and Reynolds—both artists themselves and partners of artists—as they navigated Surrealism, identity, and cross-cultural exchange on the eve of World War II.

Across three decades, artist and filmmaker Arthur Jafa has developed a singularly dynamic practice comprising films and videos, photographs, and sculptures. Through his multidisciplinary work, Jafa seeks to encompass what he describes as “the full complexity, specificity, beauty, and potentiality of what Black folks have made and continue to make out of the bleak existential circumstance we’ve attended to over the past several hundred years.” Utilizing found imagery, music, and artistic techniques such as montage and collage, he has constructed an extensive assemblage of Black expression, layered and arranged in ways that reveal the diverse and complex realities of Black being.

Across three decades, artist and filmmaker Arthur Jafa has developed a singularly dynamic practice comprising films and videos, photographs, and sculptures. Through his multidisciplinary work, Jafa seeks to encompass what he describes as “the full complexity, specificity, beauty, and potentiality of what Black folks have made and continue to make out of the bleak existential circumstance we’ve attended to over the past several hundred years.” Utilizing found imagery, music, and artistic techniques such as montage and collage, he has constructed an extensive assemblage of Black expression, layered and arranged in ways that reveal the diverse and complex realities of Black being.

Across three decades, artist and filmmaker Arthur Jafa has developed a singularly dynamic practice comprising films and videos, photographs, and sculptures. Through his multidisciplinary work, Jafa seeks to encompass what he describes as “the full complexity, specificity, beauty, and potentiality of what Black folks have made and continue to make out of the bleak existential circumstance we’ve attended to over the past several hundred years.” Utilizing found imagery, music, and artistic techniques such as montage and collage, he has constructed an extensive assemblage of Black expression, layered and arranged in ways that reveal the diverse and complex realities of Black being.

Across three decades, artist and filmmaker Arthur Jafa has developed a singularly dynamic practice comprising films and videos, photographs, and sculptures. Through his multidisciplinary work, Jafa seeks to encompass what he describes as “the full complexity, specificity, beauty, and potentiality of what Black folks have made and continue to make out of the bleak existential circumstance we’ve attended to over the past several hundred years.” Utilizing found imagery, music, and artistic techniques such as montage and collage, he has constructed an extensive assemblage of Black expression, layered and arranged in ways that reveal the diverse and complex realities of Black being.

Jitish Kallat’s site-specific installation, Public Notice 3, returns to the Art Institute of Chicago’s Grand Staircase this fall after a 14-year hiatus. Initially unveiled on September 11, 2010, the work connects two significant historical events separated by 108 years: the First World’s Parliament of Religions which began on September 11, 1893, and the terrorist attacks on the World Trade Center and the Pentagon on September 11, 2001. At the earlier event, the World Parliament of Religions, held in an auditorium that encompassed the area that today includes both the museum’s Fullerton Hall and Woman’s Board Grand Staircase, a young Hindu monk, Swami Vivekananda electrified audiences with a powerful speech calling for an end to religious fundamentalism, intolerance, and bigotry.

Jitish Kallat’s site-specific installation, Public Notice 3, returns to the Art Institute of Chicago’s Grand Staircase this fall after a 14-year hiatus. Initially unveiled on September 11, 2010, the work connects two significant historical events separated by 108 years: the First World’s Parliament of Religions which began on September 11, 1893, and the terrorist attacks on the World Trade Center and the Pentagon on September 11, 2001. At the earlier event, the World Parliament of Religions, held in an auditorium that encompassed the area that today includes both the museum’s Fullerton Hall and Woman’s Board Grand Staircase, a young Hindu monk, Swami Vivekananda electrified audiences with a powerful speech calling for an end to religious fundamentalism, intolerance, and bigotry.

Jitish Kallat’s site-specific installation, Public Notice 3, returns to the Art Institute of Chicago’s Grand Staircase this fall after a 14-year hiatus. Initially unveiled on September 11, 2010, the work connects two significant historical events separated by 108 years: the First World’s Parliament of Religions which began on September 11, 1893, and the terrorist attacks on the World Trade Center and the Pentagon on September 11, 2001. At the earlier event, the World Parliament of Religions, held in an auditorium that encompassed the area that today includes both the museum’s Fullerton Hall and Woman’s Board Grand Staircase, a young Hindu monk, Swami Vivekananda electrified audiences with a powerful speech calling for an end to religious fundamentalism, intolerance, and bigotry.

Jitish Kallat’s site-specific installation, Public Notice 3, returns to the Art Institute of Chicago’s Grand Staircase this fall after a 14-year hiatus. Initially unveiled on September 11, 2010, the work connects two significant historical events separated by 108 years: the First World’s Parliament of Religions which began on September 11, 1893, and the terrorist attacks on the World Trade Center and the Pentagon on September 11, 2001. At the earlier event, the World Parliament of Religions, held in an auditorium that encompassed the area that today includes both the museum’s Fullerton Hall and Woman’s Board Grand Staircase, a young Hindu monk, Swami Vivekananda electrified audiences with a powerful speech calling for an end to religious fundamentalism, intolerance, and bigotry.

Descending the Staircase considers novel artistic approaches to representing the human body. Spread across two floors of the museum, the exhibition presents figures of all kinds, from the fragmented, absurd, and surreal to the curated, self-aware, and media savvy. Puppets, masks, and automatons merge bodies with objects, juxtaposing the animate and inanimate, while abstract sculptures evoke the human form through soft and fleshy materials such as nylon, wax, hair, and latex. Elsewhere, artists deploy the living body as a medium, setting it in motion with performance and gesture. Together, these artworks delve into fundamental questions about the human body in the contemporary world, including its relationship to labor and machines, its presentation in advertising and social media, and its role within the everyday domestic sphere.

Descending the Staircase considers novel artistic approaches to representing the human body. Spread across two floors of the museum, the exhibition presents figures of all kinds, from the fragmented, absurd, and surreal to the curated, self-aware, and media savvy. Puppets, masks, and automatons merge bodies with objects, juxtaposing the animate and inanimate, while abstract sculptures evoke the human form through soft and fleshy materials such as nylon, wax, hair, and latex. Elsewhere, artists deploy the living body as a medium, setting it in motion with performance and gesture. Together, these artworks delve into fundamental questions about the human body in the contemporary world, including its relationship to labor and machines, its presentation in advertising and social media, and its role within the everyday domestic sphere.

Descending the Staircase considers novel artistic approaches to representing the human body. Spread across two floors of the museum, the exhibition presents figures of all kinds, from the fragmented, absurd, and surreal to the curated, self-aware, and media savvy. Puppets, masks, and automatons merge bodies with objects, juxtaposing the animate and inanimate, while abstract sculptures evoke the human form through soft and fleshy materials such as nylon, wax, hair, and latex. Elsewhere, artists deploy the living body as a medium, setting it in motion with performance and gesture. Together, these artworks delve into fundamental questions about the human body in the contemporary world, including its relationship to labor and machines, its presentation in advertising and social media, and its role within the everyday domestic sphere.

Descending the Staircase considers novel artistic approaches to representing the human body. Spread across two floors of the museum, the exhibition presents figures of all kinds, from the fragmented, absurd, and surreal to the curated, self-aware, and media savvy. Puppets, masks, and automatons merge bodies with objects, juxtaposing the animate and inanimate, while abstract sculptures evoke the human form through soft and fleshy materials such as nylon, wax, hair, and latex. Elsewhere, artists deploy the living body as a medium, setting it in motion with performance and gesture. Together, these artworks delve into fundamental questions about the human body in the contemporary world, including its relationship to labor and machines, its presentation in advertising and social media, and its role within the everyday domestic sphere.

Renowned multimedia artist Dieter Roth’s preferred form, and the one he spent his lifetime pursuing, was the Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.

Renowned multimedia artist Dieter Roth’s preferred form, and the one he spent his lifetime pursuing, was the Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.

Wafaa Bilal: Indulge Me is the first major survey of internationally renowned artist Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY). Working in performance, sculpture, and with online and interactive technologies, Bilal’s interdisciplinary practice investigates the dynamic between international and interpersonal politics while highlighting the tension between his home in the United States, which he has deemed the “comfort zone,” and the “conflict zone” of Iraq. The exhibition covers the breadth of Bilal’s versatile career by exploring his performance practice, the use of power in Saddam Hussein’s regime, and Iraqi history and antiquity. It will feature archival displays of his iconic month-long performance Domestic Tension (2007) and year-long performance 3rdi (2010–11), as well as two new works including a sculptural commission for the MCA.

Wafaa Bilal: Indulge Me is the first major survey of internationally renowned artist Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY). Working in performance, sculpture, and with online and interactive technologies, Bilal’s interdisciplinary practice investigates the dynamic between international and interpersonal politics while highlighting the tension between his home in the United States, which he has deemed the “comfort zone,” and the “conflict zone” of Iraq. The exhibition covers the breadth of Bilal’s versatile career by exploring his performance practice, the use of power in Saddam Hussein’s regime, and Iraqi history and antiquity. It will feature archival displays of his iconic month-long performance Domestic Tension (2007) and year-long performance 3rdi (2010–11), as well as two new works including a sculptural commission for the MCA.

This year’s Spring Flower Show, “Rooted in Mystery” explores the critical parts of plants that we don’t usually see – the roots! In addition to finding and delivering water and nutrition to the leaves and stems, roots perform many lesser known but important functions in the lives of plants. For instance, plants “talk” to each other via chemical and electrical signals emitted by their roots to aid in survival. Visitors will learn about the different types of roots and the cool stuff they do while enjoying a marvelous display of spring plants, including azaleas, pansies, snapdragons, astilbe, baptisia, hydrangeas, and 26 different varieties of tulips, daffodils, and hyacinths.

This year’s Spring Flower Show, “Rooted in Mystery” explores the critical parts of plants that we don’t usually see – the roots! In addition to finding and delivering water and nutrition to the leaves and stems, roots perform many lesser known but important functions in the lives of plants. For instance, plants “talk” to each other via chemical and electrical signals emitted by their roots to aid in survival. Visitors will learn about the different types of roots and the cool stuff they do while enjoying a marvelous display of spring plants, including azaleas, pansies, snapdragons, astilbe, baptisia, hydrangeas, and 26 different varieties of tulips, daffodils, and hyacinths.

This year’s Spring Flower Show, “Rooted in Mystery” explores the critical parts of plants that we don’t usually see – the roots! In addition to finding and delivering water and nutrition to the leaves and stems, roots perform many lesser known but important functions in the lives of plants. For instance, plants “talk” to each other via chemical and electrical signals emitted by their roots to aid in survival. Visitors will learn about the different types of roots and the cool stuff they do while enjoying a marvelous display of spring plants, including azaleas, pansies, snapdragons, astilbe, baptisia, hydrangeas, and 26 different varieties of tulips, daffodils, and hyacinths.

This exhibition focuses on a single artwork by Pipilotti Rist (b. 1962, Grabs, Switzerland; lives and works in Zürich), the 2001 video installation Supersubjektiv. Rist filmed the video footage featured in Supersubjektiv using a handheld digital camera during a month-long trip to Japan in December 2000. The hallucinatory video, presented in the Turner Gallery as a multichannel installation accompanied by sheepskin seating and an artist-made pillow, offers viewers a dream-like space for contemplation and curiosity. Paired with an ambient electronic soundtrack with lyrics sung in English and Japanese, the artwork examines nature, the built environment, and technology with wide-eyed wonder. Visitors are encouraged to relax and lose track of time as they take in Rist’s audiovisual meditation on longing for connection in our vast, globalized society.

This exhibition focuses on a single artwork by Pipilotti Rist (b. 1962, Grabs, Switzerland; lives and works in Zürich), the 2001 video installation Supersubjektiv. Rist filmed the video footage featured in Supersubjektiv using a handheld digital camera during a month-long trip to Japan in December 2000. The hallucinatory video, presented in the Turner Gallery as a multichannel installation accompanied by sheepskin seating and an artist-made pillow, offers viewers a dream-like space for contemplation and curiosity. Paired with an ambient electronic soundtrack with lyrics sung in English and Japanese, the artwork examines nature, the built environment, and technology with wide-eyed wonder. Visitors are encouraged to relax and lose track of time as they take in Rist’s audiovisual meditation on longing for connection in our vast, globalized society.

This exhibition focuses on a single artwork by Pipilotti Rist (b. 1962, Grabs, Switzerland; lives and works in Zürich), the 2001 video installation Supersubjektiv. Rist filmed the video footage featured in Supersubjektiv using a handheld digital camera during a month-long trip to Japan in December 2000. The hallucinatory video, presented in the Turner Gallery as a multichannel installation accompanied by sheepskin seating and an artist-made pillow, offers viewers a dream-like space for contemplation and curiosity. Paired with an ambient electronic soundtrack with lyrics sung in English and Japanese, the artwork examines nature, the built environment, and technology with wide-eyed wonder. Visitors are encouraged to relax and lose track of time as they take in Rist’s audiovisual meditation on longing for connection in our vast, globalized society.

Experience Africa Fashion, a one-of-a-kind exhibition celebrating the dynamic voices transforming African style. With over 180 works, including haute couture, ready-to-wear, and multimedia displays, discover how African designers are shaping global fashion. From pioneering icons like Shade Thomas-Fahm to contemporary artists like Thebe Magugu, see bold designs that connect tradition with innovation.