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A predominantly red, geometric abstract painting with deep blue, black, gold, and purple shapes, including many triangles that lend a sense of rightward thrust or momentum. Near the center are two puffy bursts of white with spindly appendages of splattered paint jutting right. A predominantly red, geometric abstract painting with deep blue, black, gold, and purple shapes, including many triangles that lend a sense of rightward thrust or momentum. Near the center are two puffy bursts of white with spindly appendages of splattered paint jutting right. Photo of an art gallery with white walls, partitions and vitrines. At right is a large copper-colored sculpture of a headless woman, nude from the waist up, with a full skirt. At left, in a vitrine, is a sculpture of a humanoid figure with arms raised. Numerous other artworks of various mediums are evenly spaced throughout the gallery. Photo of an art gallery with white walls, partitions and vitrines. At right is a large copper-colored sculpture of a headless woman, nude from the waist up, with a full skirt. At left, in a vitrine, is a sculpture of a humanoid figure with arms raised. Numerous other artworks of various mediums are evenly spaced throughout the gallery. Two paintings of seemingly identical subjects sit side by side. In each a light-skinned older man with blond hair, beard, and mustache wears a deep-black cape and feathered hat, silver gorget, and wide gold necklace with a large pendant. The painting on the left is shorter, showing less of the subject's torso. Two paintings of seemingly identical subjects sit side by side. In each a light-skinned older man with blond hair, beard, and mustache wears a deep-black cape and feathered hat, silver gorget, and wide gold necklace with a large pendant. The painting on the left is shorter, showing less of the subject's torso.

Explore the wide range of references in the works of architect Bruce Goff, discover how artist Simone Leigh put African art in dialogue with our broader collection, and examine the differences between an iconic portrait by Rembrandt and a copy by his student.

Winter 2025–26

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My first encounter with architect Bruce Goff took place not at the museum but on the leafy grounds of Chicago’s Graceland Cemetery.

⁠—Alison Fisher, Harold and Margot Schiff Curator, Architecture and Design

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