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A close-up view of white marble stairs showing the risers, on which words in alternating red, yellow, orange, green, and blue appear against a black background. A close-up view of white marble stairs showing the risers, on which words in alternating red, yellow, orange, green, and blue appear against a black background.

The Synchronicities of History

From the Artist

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Is a place, in fact, an event in time?

A place is defined not only by its spatial coordinates but also by its position in the temporal dimension; every place is inherently tied to when it exists and the meaning it accumulates over time—an archive of its histories.

A view of the first tier of the museum's white marble Grand Staircase, which from a wider base narrows to a central landing. On the risers, alternating red, yellow, orange, green, and blue words appear against a black background.

An installation view of Jitish Kallat’s Public Notice 3 at the Art Institute in 2010


Gift of the artist. © 2024 Jitish Kallat

My work Public Notice 3 takes this idea to the Woman’s Board Grand Staircase, envisioning this defining architectural feature of the Art Institute of Chicago not only as a physical landmark and thoroughfare but as a temporal conduit to its rich historical past—an observation deck that changes the focal lengths at which we view the world.

We perform this shift of attention throughout each day, often without realizing it. We bring objects closer to us or move them farther away while observing them, sometimes narrowing our eyes to see more clearly. We think back and forth in time to calibrate the meaning of the present moment.

My work, in a sense, amplifies these gestures of observation to explore various space-time geometries, juxtaposing the past and the present, the telescopic and the microscopic, and the terrestrial and the cosmic, each yielding a different inflection of meaning. Some of my works reflect on the transient present, while others invoke the past through citations of historical utterances.

Public Notice 3 is the third in a trilogy of works created between 2003 and 2010, each evoking a momentous speech. The initial Public Notice used the words of India’s first prime minister, Jawaharlal Nehru, as he addressed a new nation in 1947, presenting a dream vision that would not come to pass, while Public Notice 2 gave form to a speech given by Mahatma Gandhi in 1930 that led to a nationwide civil disobedience movement.

What distinguishes Public Notice 3 from the two earlier works in the trilogy, however, is its integral connection of the historic speech to the location of the artwork’s installation. The Grand Staircase and the adjacent Fullerton Hall stand on the site of the former auditorium where the First World’s Parliament of Religions began on September 11, 1893. This pioneering gathering brought together representatives from various religious traditions with the aim of advancing global interfaith dialogue and understanding. Public Notice 3 connects this significant historical event with one that occurred exactly 108 years later: the terrorist attacks of September 11, 2001.

A blurry black-and-white photo of an auditorium. Above the rows of first-floor seats is a second level raised on columns. Banners hang from the rafters.

The auditorium of the First World’s Parliament of Religions, 1893                


The seating for the auditorium covers the area that today is Fullerton Hall, while the auditorium’s stage—where speakers addressed attendees—was located where the Woman’s Board Grand Staircase now stands.

The number 108, while seemingly coincidental, holds profound significance in various wisdom traditions and ancient practices. Astronomically, the average distance between the sun and earth is approximately 108 times the sun’s diameter, and the distance between the earth and moon is approximately 108 times the moon’s diameter. In many cultures, 108 is seen as a complete cycle representing the interconnectedness of cosmic events. It is also the number of beads used in many rituals to mark a full circle.

A drawing on white paper is anchored by a series of progressively smaller circles that overlap on the right side, with a lighter set of circles meeting on the left. Handwritten text notes the years 1893 and 2001 along with details about the installation of "Public Notice 3."

Kallat’s study of the organizing principle for Public Notice 3


Time, place, and synchronicities became the organizing principle for me to conceive Public Notice 3, focusing on a seminal speech delivered at the 1893 Parliament by a Hindu monk, Swami Vivekananda, whose moving address advocated universal acceptance of all religious beliefs and practices. 

Black-and-white photograph of a group of men, some with headdresses, seated on a stage. Among them is Swami Vivekananda, a young, medium-skinned man with wide eyes.

Swami Vivekananda (seated, second from right) at the First World’s Parliament of Religions


“We believe not only in universal toleration, but we accept all religions as true.”

—Swami Vivekananda, 1893

With uncanny foresight, Vivekananda’s call for the transcendence of narrow identities and the rejection of fundamentalism resonates deeply today. He hoped for “the death-knell of all fanaticism, of all persecutions with the sword or with the pen, and of all uncharitable feelings between persons wending their way to the same goal.”

In Public Notice 3, viewers encounter Vivekananda’s profound words on the risers of the stairs as they ascend the staircase. The text is doubled at the two entry points on the lower levels of the Grand Staircase and quadrupled at the four exit points at the top, multiplying like a visual echo. While descending, visitors step over beams of light cast from the illuminated text, refracted not in the seven colors of the light spectrum but in the five colors of the terrorism threat advisory scale created in March 2002 under the Bush administration in response to the September 11 attacks.

As Public Notice 3 returns to the Art Institute of Chicago after 14 years, it finds a world marked by cultural clashes, political polarization, and numerous ongoing wars and insurgencies. In fact, it is estimated that there are currently close to 60 active conflicts worldwide, the highest number recorded since World War II. Moreover, the digital age has seen the rise of echo chambers, insular thinking, and separatist ideologies, severing us even further. It is this divided world to which Public Notice 3 returns, transforming the Grand Staircase into a prism that channels Vivekananda’s call for universal acceptance through its spectrum of hues, offering a perpetually renewable toolbox for reflection from the very site where he delivered his message.

—Jitish Kallat, artist

Public Notice 3 is now open and will run through September 2025.

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