CHICAGO — Walking through an art fair can feel like swimming in the middle of Lake Michigan — there’s a fine line between floating through art and drowning in it. After all, these shows aren’t always made for the people trying to swim; they’re for the ones riding the yachts. But at Expo Chicago, running through this Sunday, April 27, I found little islands of hope, persistence, and affirmation.
Expo Chicago has hosted its contemporary art fair at the iconic Navy Pier every April since 2012. Now, back with more than 200 participants in its second run after being acquired by Frieze, the show is attempting to remain unique with new partnerships and fair sections. One such initiative is a collaboration with the Galleries Association of Korea (GAoK). The excitement of the GAoK participants is refreshing — a reminder that what can be a tiring corporate ritual for some can still power dreams for others.
“It’s my first time in the USA, and I’m really excited to share Moonassi with the amazing collectors and galleries,” beamed Diny Lee, director of Everyday Moonday gallery in Seoul and a fresh face at Expo. “I’ve gotten a lot of great reactions from people here.” Artist Kim Daehyun, who goes by Moonassi, creates ethereal depictions of human connection using ink on traditional Korean paper that have certainly resonated with audiences — Lee confirmed most works, priced between $7,000 to $18,000, had already sold on opening day.
Coming from Brooklyn, Richard Beavers Gallery allowed artists to speak to sociopolitical challenges through a themed exhibition booth titled Breaking the Simulation. Beavers told me he hopes the works will “act as a catalyst to evoke conversation around these uncomfortable issues.” Works by oil painter Terron Cooper Sorrells do exactly that, prompting a reconsideration of systems shaping Black lived experiences through arresting figuration and layered imagery.
In a different take on figuration, painter Leslie Barlow of Bockley Gallery in Minneapolis draws in endless visitors with her imaginative depictions of Black cosplayers. Her love for her community is palpable; she glowed as she described cosplay as a practice that “opens up what is possible through identity, radical play, and transformation.”
On the exterior of the Chicago-based Center for Native Futures booth, bold black and white vinyl banners by Anna Tsouhlarakis command viewers with bold truths of Native peoples. As a co-founder of the only Native-led arts organization at Expo, Monica Rickert-Bolter feels a responsibility to bring Indigenous voices to the forefront. “We hope visitors get a better idea of what contemporary Native art is, and that Native art isn’t just confined to a museum,” she said.
Multimedia artist Sofía Fernández Díaz, whose spirited sculptures combining craft, found materials, and the traditional processes of Mexican artisans are on view at the booth of the local Hyde Park Art Center, echoed a similar sentiment.
“It’s a little strange to be in a fair,” she reflected. “But I think it’s important to create these bridges, especially by bringing Mexico here and having the power to say, ‘I’m Mexican and I’m proud,’ you know?”
As we spoke, a large crowd began to form around the Hyde Park Art Center booth for their traditional 6pm opening day toast. In the swarm of visitors, smiles were shared, hugs were exchanged, and drinks were poured. There was something in the air. Visitor Jenny Kendler described it as “a current, perhaps a response to the political moment.” Her face lit up as she added, “Things are more colorful, and it feels like there’s a lot more joy, and I’m surprised to be saying that!”
After hours of wandering through Expo Chicago, I had an unexpected feeling: hope. In the storm of recent market instability, political uncertainty, and the commercial chaos of art fairs, a liferaft appears. It’s the artists, who continue to embrace their cultural pride, celebrate their communities, and push boundaries — whether at fairs or in the world beyond.
Credit: hyperallergic.com
