Madlener House
4 West Burton Place
Chicago, Illinois 60610
Telephone: 312.787.4071


Saturday Gallery Walkthrough
Feb 04, 2023 - Feb 25, 2023 (2pm)

Free admission, reservations required

Join us for an introduction to the exhibitions currently on view, Pidgeon Audio Visual: Architects Speak for Themselves and Barbara Stauffacher Solomon: Exits Exist, led by Graham Foundation staff.

Walkthroughs run from 2:00–2:30 on the following dates: 
Saturday, Feb 4
Saturday, Feb 11
Saturday, Feb 18
Saturday, Feb 25

Group tours are available by request, contact us at

For more information on the exhibition, Pidgeon Audio Visual: Architects Speak for Themselves, click here.



Bookshop Sale
Feb 22, 2023 - Feb 25, 2023 (12pm)

Free admission, reservations required

Visit the galleries during the winter bookshop sale in the final week of our current exhibitions, Pidgeon Audio Visual: Architects Speak for Themselves and Barbara Stauffacher Solomon: Exits Exist. All purchases in the bookshop will be 15% off with additional markdowns on select titles.

For gallery hours and timed-entry reservations, click here to book on

Visitor Guidelines
Please note: The audio component of the Pidgeon Audio Visual installation is only accessible to stream in the galleries through the exhibition's dedicated website on a mobile device. The use of a personal mobile device is encouraged and headphones are required. Headphones and chargers are available for use as needed.

The first-floor galleries and bookshop are accessible via outdoor lift. Please call ahead to make arrangements. The second-floor galleries and the third-floor ballroom, where events are held, are only accessible by stairs.

Group tours available by request



Marissa Lee Benedict, Daniel de Paula, David Rueter, and Karsten Lund
Feb 22, 2023 (6pm)
Book Launch

Free; RSVP required

Join us for a discussion and presentation of deposition, a project by Marissa Lee Benedict, Daniel de Paula, and David Rueter centered on the displacement, exhibition, and reprogramming of a large-scale trading pit, salvaged from the grain room of the Chicago Board of Trade. In 2021, the obsolete seven-tier commodity trading pit floor was relocated to the center of Oscar Niemeyer’s Ciccillo Matarazzo for the 2021 São Paulo Biennial with support from a grant from the Graham Foundation.  Benedict, de Paula, and Rueter will be joined by Karsten Lund, editor of their new book from Mousse Publishing that documents the project. Copies will be available for purchase in the Graham Foundation bookshop following the discussion.

About the publication:
Proceeding from the iconic installation deposition (2018–ongoing) by artists Marissa Lee Benedict, Daniel de Paula, and David Rueter in the central atrium of Oscar Niemeyer’s pavilion for the 34th Bienal de São Paulo, this volume traces the salvage, displacement, and exhibition of the last corn commodities futures trading pit from the Chicago Board of Trade. Essays and interviews provide divergent lenses from which to view the work, moving from intimate to distant, scanning over the object, the artists, the art institution, and the architectures of the geopolitical landscape in which these elements operate. Section by section, the book works through the multiple, and compacted, meanings of the word “deposition” (geologic, legal, art historical), layering images and texts to build concrete yet non-linear relations, as the 32 fragments of the former trading floor are dragged from Chicago to São Paulo.

deposition (Mousse Publishing, 2023) features the work of Marissa Lee Benedict, David Rueter, Daniel De Paula, and is edited by Karsten Lund with text by Yamila Goldfarb, Cameron Hu, and Ana Teixeira Pinto.

Daniel de Paula is a Brazilian visual artist and researcher. de Paula has been awarded the Mondriaan Funds Proven Talent Award and has exhibited widely at institutions such as MASP, São Paulo; The Renaissance Society, Chicago; Padiglione d’Arte Contemporanea, Milan; Kunsthal Gent; The Arts Club of Chicago; Estação Pinacoteca, São Paulo; and the 2022 Lyon Biennale. His work is represented by Francesca Minini Gallery and Lumen Travo Gallery, and has been reviewed in ArtforumTexte zur Kunst, Flash ArtMousse MagazineFolha de São Paulo, and Het Parool. He has participated in several international artistic residencies such as the Jan van Eyck Academie, FLACC, and KIOSKO.

Marissa Lee Benedict and David Rueter are visual artists, writers, and researchers working in collaboration since 2014. Benedict and Rueter have exhibited works at The US Pavilion for the 2018 Venice Architecture Biennale; The Arts Club of Chicago; The Museum of Contemporary Photography, Chicago; The Renaissance Society at the University of Chicago; and Contemporary Art Brussels, amongst others. They have received major grants from institutions such as the National Endowment for the Arts and the Joan Mitchell Foundation. Their work has been reviewed by publications such as ArtforumRevistaAgenda Magazine, and Hyperallergic. They have collaboratively participated in numerous international artistic residencies including Rupert, the Banff Centre, and the Jan van Eyck Academie.

It was at the Jan van Eyck Academie in 2018 that Benedict, de Paula and Rueter began their collaborative work deposition (2018–ongoing) with the salvage of the last remaining commodities trading pit from the Chicago Board of Trade. Their work has been awarded individual grant support from the Graham Foundation for Advanced Studies in the Fine Arts, and has been exhibited at the 34th Bienal de São Paulo, The Arts Club of Chicago, and The Renaissance Society.

Karsten Lund is curator at the Renaissance Society at the University of Chicago, where he organizes exhibitions, edits publications, and oversees public programs. His most recent exhibitions include new commissions by Haig Aivazian (2021), Jill Magid (2021), Matthew Metzger (2021), and LaToya Ruby Frazier (2019, cocurated with Solveig Øvstebø), as well as group shows such as Nine Lives (2020, with Caroline Picard) and Unthought Environments (2018). His latest group exhibition, Fear of Property (2022), features new work by Benedict, de Paula and Rueter, an off-shoot of deposition (2018-ongoing), and he has acted as editor for a monograph on the work (of the same name) that is being released in 2023 by Mousse Publishing. As an editor, Lund works on three to four books every year at the Renaissance Society, including recent titles by Kevin Beasley and Jill Magid. He has also independently edited volumes such as the Graham Foundation-supported Spells by Irena Haiduk (Sternberg Press, 2015).

Image: Installation view, deposition, 34th Bienal de São Paulo, 2021. Photo: Everton Ballardin



Weston Olencki
Lampo Performance Series
Mar 11, 2023 (4pm)

Reservations required; limited capacity

In recent projects Weston Olencki has explored fusions of experimentalism and noise with American traditional music. At the Graham, they premiere new work for pump organ, Sacred Harp hymnody, and electronic synthesis, and offer a vine that grew over the city and no one noticed for electromechanical banjo, magnetic resonators, solenoid motors, AM radio transmitters, handheld radio, railroad spikes, carriage bolts, Markov-driven three-finger banjo picking, and a neural net-generated resynthesis of The Carter Family’s Will the Circle Be Unbroken (1935) as “performed” by the reanimated and digitized voices of Johnny Cash, Dolly Parton, Hank Williams, Charley Pride, Elizabeth Cotten, Jimmie Rodgers, Buck Owens, Loretta Lynn, Uncle Dave Macon, and Willie Nelson.

Weston Olencki (b.1992; Spartanburg, South Carolina) is a musician, composer, and sound artist based in Berlin, Germany. Their current work is centered around questions of instrumental music and its contexts and constructs, various mediated practices of listening and improvisation, and the technological, material, and cultural histories of rural space and time.

They have presented work at the Borealis Festival, Issue Project Room, REDCAT, Donaueschinger Musiktage, Ghent Jazz Festival, Philharmonie Luxembourg, Black Mountain College, Musica Nova Helsinki, the American Academy in Rome, Roulette Intermedium, and Frequency Festival, among other festivals and venues. Residencies include CalArts, Columbia, Harvard, NYU, Northwestern, Princeton, Stanford, and the University of Huddersfield. In 2016 they were awarded the Kranichsteiner Musikpreis from the Internationales Musikinstitut Darmstadt. Their recording project Old Time Music (Tripticks Tapes) was named in Bandcamp’s “best of” 2022 music round-up. They have an extensive discography, with upcoming releases on Astral Spirits and Infrequent Seams. Olencki is an active member of Rage Thormbones, the Wet Ink Large Ensemble, Ensemble Pamplemousse, Clone Decay (with Mary Halvorson and Kalia Vandever), the Hollows (with Nick Dunston and Etienne Nillesen), and other projects, and performs regularly as a soloist and ensemble member on low brass instruments, winds, banjo, organs, and various electronic media.

Image: Courtesy the artist

Presented in partnership with Lampo

Lampo, established in 1997, supports artists working in new music, experimental sound and other interdisciplinary practices. The Chicago-based organization's core activity has been and remains its performance series. Rather than making programming decisions around tour schedules, Lampo invites selected artists to create and perform new work, and then the organization provides the space, resources and curatorial support to help them fulfill their vision. Lampo also organizes artist talks, lectures, screenings and workshops, and publishes written and recorded documents related to its series.

Visitor Guidelines: Masks are strongly encouraged. Visitors to the Graham Foundation understand that there is an inherent risk of exposure to COVID-19 in any public space where people are present. When masks are required, they must cover the nose and mouth at all times and meet CDC standards. Disposable masks are available upon request and will be provided to visitors as required.

Accessibility: Events are held in the ballroom on the third floor, which is only accessible by stairs. Please contact us at 312.787.4071 or to make arrangements.



A different kind of tender and the practice of overhealing: Opening Reception
Katherine Simóne Reynolds
Mar 25, 2023 (4pm)
Opening Reception

RSVP required

Join us for a reception from 4–6 p.m. with artist Katherine Simóne Reynolds to celebrate the opening of her new exhibition A different kind of tender and the practice of overhealing.

Katherine Simóne Reynolds
practice investigates emotional dialects and psychogeographies of Blackness, and the importance of “anti-excellence.” Her work physicalizes emotions and experiences by constructing pieces that include portrait photography, video works, choreography, sculpture, and installation. Taking cues from the midwestern post-industrial melancholic landscape having grown up in the metro east area of Saint Louis, she formed an obsessive curiosity around the practices of healing as well as around a societal notion of progress spurning from a time of industrial success. Utilizing Black embodiment and affect alongside her own personal narrative as a place of departure has made her question her own navigation of ownership, inclusion, and authenticity within a contemporary gaze. She draws inspiration from Black glamour and beauty while interrogating the notion of “authentic care.” Her practice generally deals in Blackness from her own perspective, and she continuously searches for what it means to produce “Black Work.”

Reynolds has exhibited and performed work within many spaces and institutions including the Pulitzer Arts Foundation; The Museum of Modern Art; and SculptureCenter. She has exhibited in national and international group and solo shows, has spoken at the Contemporary Art Museum of Saint Louis, the Saint Louis Art Museum, and the Black Midwest Initiative Symposium at University of Minnesota. Alongside her visual art practice, she has embarked on curatorial projects at The Luminary; SculptureCenter; and upcoming exhibitions for Stanley Museum of Art as well as Clyfford Still Museum.

For more information on the exhibition, A different kind of tender and the practice of overhealing, click here.



Barbara Kasten: Architecture & Film (2015–2020)
Barbara Kasten with Stephanie Cristello
Apr 15, 2023 (3pm)
Book Launch

RSVP required

Join artist Barbara Kasten alongside author and editor Stephanie Cristello for the official book launch of the monograph Barbara Kasten: Architecture & Film (2015–2020), published by Skira. Delving into unearthed comparisons and histories, this conversation contextualizes Kasten’s ongoing investigations into how moving images and perception play within and through architectural forms.

Since the 1970s, Kasten’s nearly five-decade engagement with abstraction and light has developed through the lens of sculpture, painting, theater, textile, and installation. Well-known within photographic and contemporary art discourse, this publication reconsiders the artist through the broader context of architectural theory. Spanning five years of recent installations following the artist’s first major museum survey Barbara Kasten: Stages (2015–16) at the Institute of Contemporary Art (Philadelphia), the Graham Foundation (Chicago), and MOCA Pacific Design Center (Los Angeles), momentous encounters including Kasten’s Crown Hall (2018) installed within architect Mies van der Rohe’s iconic glass and steel structure and her solo exhibition Scenarios (2020–21) at the Aspen Art Museum serve as a primer to her revolutionary methods of abstraction.

Replete with full-color plates, the book features a long-form interview with Hans Ulrich Obrist following significant collaborations on the design of the stage for Obrist’s Interview Marathon (2018) and the film The New Bauhaus (2019) on artist László Moholy-Nagy; curator Humberto Moro’s interwoven comparison to the sensitivities of space, geometry, and color in the buildings of Mexican architect Luis Barragán; how Kasten’s work remains in conversation with new practitioners from architecture critic and curator Mimi Zeiger; and an elective history informed by Kasten’s early cyanotypes of sacred sites and goddess structures that provide a “stage” to disclose the spiritual basis of her approach to light by editor Cristello.

Presented in partnership with Skira

Stephanie Cristello is a contemporary art critic, curator, and author based in Chicago. Her work focuses on artists who critically engage with the image and its role in visual culture. She graduated from the School of the Art Institute of Chicago in 2013 with a liberal arts thesis in visual critical studies. Cristello was previously the Senior Editor US for ArtSlant (2012–18) and the founding Editor-in-Chief of THE SEEN, Chicago’s International Journal of Contemporary & Modern Art (2013–20). Her writing has been published in ArtReview, BOMB Magazine, Elephant Magazine, Frieze MagazineMousse Magazine, OSMOS, and Portable Gray. She has delivered panels at the US Pavilion at the Venice Biennale for Architecture, Independent Curators International (ICI), the Terra Foundation for American Art, Manifest Institute, the Chicago Architecture Biennial, and Nordic Talks. Cristello served as the artistic director of EXPO CHICAGO (2013–2020) and is currently the director / curator at Chicago Manual Style (Chicago) and Curator-at-Large at Kasmin (New York). In 2020–21, she was a curatorial advisor to the 2020 Busan Biennale (South Korea) as well as a guest curator at Kunsthal Aarhus (Denmark), the Malmö Art Museum (Sweden), and the Driehaus Museum (Chicago). Cristello has contributed to numerous exhibition catalogues nationally and internationally, including monographs on the work of Lap-See Lam (Bonniers Konsthall / Lenz Press, 2021), Mamma Andersson and Tal R (Kunsten Museum / Malmö Art Museum, 2022). She is the author of Theodora Allen: Saturnine (Motto / Kunsthal Aarhus, 2021), Sustainable Societies for the Future (Motto / Malmö Art Museum, 2021), and Barbara Kasten: Architecture and Film 2015–2020 (Skira, 2022). In 2020, she was awarded a publication grant by the Graham Foundation for Advanced Studies in the Fine Arts.

Barbara Kasten (b. 1936, Chicago) lives and works in Chicago. She received her BFA from the University of Arizona in 1959 and MFA from the California College of Arts and Crafts in 1970. Kasten’s practice centers around an exploration of the nature of perception and materiality. Her photographic output using both studio and natural lighting has been essential to the last decade of multi-disciplinary work in sculpture, video, installation, and public art. These works continue to examine an object’s presence within both illusionistic and real space. Forms--designated by shadow, color, and the space between objects--oscillate between representation and abstraction. Her work has been exhibited across the United States and Europe. Most recently, Kasten was the subject of a solo exhibition at the Kunstmuseum Wolfsburg, Germany, which traveled to Sammlung Goetz, Germany, and is open through April 2023. Other recent exhibitions include Barbara Kasten: Scenarios, Aspen Art Museum, Colorado; Women in Abstraction, Museo Guggenheim Bilbao, Spain, and Centre Pompidou, France; The 2020 Busan Biennale: Words at an Exhibition—an exhibition in ten chapters and five poems, South Korea; Shape of Light: 100 Years of Photography and Abstract Art, TATE Modern, UK; Sharjah Biennial 14: Leaving the Echo Chamber, Sharjah Art Foundation, UAE; and a retrospective at the Institute of Contemporary Art in Philadelphia that traveled to the Graham Foundation in Chicago and the Los Angeles Museum of Contemporary Art. Her work is featured in the collections such as The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Guggenheim Museum, New York; Tate Modern, London; High Museum of Art, Atlanta; Museum of Fine Arts, Houston; Centre Pompidou, Paris; and the Smithsonian American Art Museum, Washington, DC among many others.


Unless otherwise noted,
all events take place at:

Madlener House
4 West Burton Place, Chicago

Gallery and Bookshop Hours
Wednesday–Saturday, 12–5 p.m.
Click here to register to visit



Events are held in the ballroom on the third floor which is only accessible by stairs.
The first floor of the Madlener House is accessible via an outdoor lift. Please call 312.787.4071 to make arrangements.