The Art Institute’s modular architectural history—previously discussed by Erin Hogan—makes the building an excellent subject for a “traveling salesman” problem. So, for the benefit of any art-loving puzzle nerds reading ARTicle, I humbly submit the following.
Your mission is to find a continuous path in, through, and around the museum that visits all of the 21 objects listed below. The catch is that you may not use any door, threshold, elevator, or flight of stairs more than once. Detailed rules are listed below.
I promise that there is at least one solution, but I cannot promise that this will be an easy problem to solve. For your convenience, here is a floor plan with dots showing the locations of the objects. Please post your solutions, or any questions, in the comments below. Good luck!
- Your path must start at one of the objects on the list. You can ignore your path into the museum and to your starting point. From the starting point, you must then visit all of the objects on the list (not necessarily in the order listed below).
- You may exit and reenter the building, if necessary. There are entrances/exits at the following locations: Michigan Avenue, Monroe Street, Columbus Drive (by the Rubloff Auditorium), and the Nichols Bridgeway (Millennium Park).
- You may not pass through any doorway or threshold more than one time. You may enter a particular gallery more than once, but only if you are able to do so via a different way than before. For example, if you leave Griffin Court of the Modern Wing through the glass doors leading toward the Rice building (housing the American Art collection), then you may reenter Griffin Court again, but not via the glass doors.
- You may not use any elevator, bridge, or a particular flight of stairs more than one time each. Note that each staircase may have more than one flight of stairs, e.g. using a flight of stairs from the lower level to the first floor does not preclude you from using the same staircase to take the flight of stairs from the first level to the second level.
- “Employees only” or “By appointment only” areas and passages are off-limits.
- In addition to the floor plan, you may wish to refer to the Art Institute’s online Pathfinder application (also available in the museum).
- An object in a dead-end gallery won’t work in the middle of your path.
- Elevators and entrances/exits are your friends.
- Draw your path before you try to walk it.
3 hours 26 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
6 hours 59 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.
1 day 6 hours ago The Art Institute of Chicago This bronze by Daniel Chester French is a reduced version of the full-size statue in the Lincoln Memorial in Washington, D.C., which French worked on with the architect Henry Bacon. The Lincoln Memorial has remained a cherished destination at the National Mall since its dedication in 1922.
Find French's historic depiction of Lincoln in our galleries of American art.