Citing a revenue drop due to the pandemic, the museum has cut 11% of its workforce.
Duro Olowu has curated a dazzling show of Chicago art that is as varied and colorful as the patterns in his clothing.
A small yet mighty exhibition, Fragments of a Crucifixion highlights moments of mourning, as well as joyful moments of faith and collectivity that continue in the face of traumas.
Jonathas de Andrade explores the inequities and societal pressures on marginalized Brazilian communities, but he also challenges his audience to consider solutions.
Centered on Brazil’s northeastern region, Jonathas de Andrade’s One to One dramatizes exchanges between the colonizer and colonized, between the haves and have-nots.
A sense of mystery pervades Enrico David’s art, in which a rich language of symbols suggests paths of possible interpretation.
Campbell implies that there has been one constant in the experiences of women across generations: the sexual aggression of men.
Though the two shows examine the void in distinctly different ways, only one gets it right.
A survey at the Museum of Contemporary Art Chicago illustrates how the artist shifted from formalist painting to personal, political art.
From war loot to Saddam Hussein’s Star Wars obsession, an exhibition at MCA Chicago considers the costs of power and destruction.
Amanda Williams, an architect turned artist, has shifted her practice from constructing buildings, to making work that understands and reveals the social implications of how and when they are destroyed.
A retrospective at the MCA Chicago charts the many strands of Murakami’s painting practice, from his early Nihonga style to recent Buddhist iconography.