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@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

@bonniehanjones with cameo by @katesin___ @lampodotorg @grahamfoundation 5/16/26

For Lampo, Jones created a work inspired by the tradition of Korean *pansori*—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (*mudang*).

𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘨𝘢𝘵𝘩𝘦𝘳 (𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.

“My work is really about the ways in which we listen together,” she says in her 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos @alex_inglizian
Interview @cynthearosepayneballard

GRANTEE TALK—Military Gardens: Roberto Burle Marx in Brasília by Catherine Seavitt—Thursday April 30 at 6 p.m.

Join us April 30 for a lecture by Catherine Seavitt on Roberto Burle Marx's overlooked work for Brazil's military government in Brasília—and the difficult position he navigated as both collaborator and critic.

The talk draws on Seavitt's book "Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship" (@utpress, 2023), supported by a Graham Foundation grant, and is presented in conjunction with the exhibition "LATINITUDES: A Collection of Latin American Modern Architecture," on view through July 18.

Free, RSVP via link in bio

Images: [1] Roberto Burle Marx, aerial view of the Crystal Plaza garden for the Ministry of the Army with Oscar Niemeyer's Army Headquarters complex seen beyond, 1972, Brasília, Brazil. Courtesy of the Arquivo Público do Distrito Federal. [3] Perspective view of the proposed Zoobotanical Gardens, 1961, Brasília, Brazil. Courtesy of Burle Marx & Cia. Ltda. [4] At the Sítio Santo Antônio da Bica, c. 1961, Barra de Guaratiba, Brazil. Photo: Marcel Gautherot. Courtesy of the Instituto Moreira Salles.

GRANTEE TALK—Military Gardens: Roberto Burle Marx in Brasília by Catherine Seavitt—Thursday April 30 at 6 p.m.

Join us April 30 for a lecture by Catherine Seavitt on Roberto Burle Marx's overlooked work for Brazil's military government in Brasília—and the difficult position he navigated as both collaborator and critic.

The talk draws on Seavitt's book "Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship" (@utpress, 2023), supported by a Graham Foundation grant, and is presented in conjunction with the exhibition "LATINITUDES: A Collection of Latin American Modern Architecture," on view through July 18.

Free, RSVP via link in bio

Images: [1] Roberto Burle Marx, aerial view of the Crystal Plaza garden for the Ministry of the Army with Oscar Niemeyer's Army Headquarters complex seen beyond, 1972, Brasília, Brazil. Courtesy of the Arquivo Público do Distrito Federal. [3] Perspective view of the proposed Zoobotanical Gardens, 1961, Brasília, Brazil. Courtesy of Burle Marx & Cia. Ltda. [4] At the Sítio Santo Antônio da Bica, c. 1961, Barra de Guaratiba, Brazil. Photo: Marcel Gautherot. Courtesy of the Instituto Moreira Salles.

GRANTEE TALK—Military Gardens: Roberto Burle Marx in Brasília by Catherine Seavitt—Thursday April 30 at 6 p.m.

Join us April 30 for a lecture by Catherine Seavitt on Roberto Burle Marx's overlooked work for Brazil's military government in Brasília—and the difficult position he navigated as both collaborator and critic.

The talk draws on Seavitt's book "Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship" (@utpress, 2023), supported by a Graham Foundation grant, and is presented in conjunction with the exhibition "LATINITUDES: A Collection of Latin American Modern Architecture," on view through July 18.

Free, RSVP via link in bio

Images: [1] Roberto Burle Marx, aerial view of the Crystal Plaza garden for the Ministry of the Army with Oscar Niemeyer's Army Headquarters complex seen beyond, 1972, Brasília, Brazil. Courtesy of the Arquivo Público do Distrito Federal. [3] Perspective view of the proposed Zoobotanical Gardens, 1961, Brasília, Brazil. Courtesy of Burle Marx & Cia. Ltda. [4] At the Sítio Santo Antônio da Bica, c. 1961, Barra de Guaratiba, Brazil. Photo: Marcel Gautherot. Courtesy of the Instituto Moreira Salles.

GRANTEE TALK—Military Gardens: Roberto Burle Marx in Brasília by Catherine Seavitt—Thursday April 30 at 6 p.m.

Join us April 30 for a lecture by Catherine Seavitt on Roberto Burle Marx's overlooked work for Brazil's military government in Brasília—and the difficult position he navigated as both collaborator and critic.

The talk draws on Seavitt's book "Depositions: Roberto Burle Marx and Public Landscapes under Dictatorship" (@utpress, 2023), supported by a Graham Foundation grant, and is presented in conjunction with the exhibition "LATINITUDES: A Collection of Latin American Modern Architecture," on view through July 18.

Free, RSVP via link in bio

Images: [1] Roberto Burle Marx, aerial view of the Crystal Plaza garden for the Ministry of the Army with Oscar Niemeyer's Army Headquarters complex seen beyond, 1972, Brasília, Brazil. Courtesy of the Arquivo Público do Distrito Federal. [3] Perspective view of the proposed Zoobotanical Gardens, 1961, Brasília, Brazil. Courtesy of Burle Marx & Cia. Ltda. [4] At the Sítio Santo Antônio da Bica, c. 1961, Barra de Guaratiba, Brazil. Photo: Marcel Gautherot. Courtesy of the Instituto Moreira Salles.

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

@kari__watson, cyborg—in 𝘍𝘶𝘴𝘦, a new solo performance for analog modular synthesizers and programmed drum machines. @lampodotorg @grahamfoundation 4/18/26

𝘍𝘶𝘴𝘦 uses a quadraphonic speaker array and four unhoused speaker cones placed around the room. A custom synth garment, made with @avgrannan, holds patch cables and an XLR snake that tie Watson’s body into the setup. Modular instruments sit on custom ceramic tables by @paige.schlosser, designed for cables to weave through and around them.

Watson takes theorist Donna Haraway’s cyborg as an origin point for the project: a figure of synthesis and hybridity, where humans and machines are enmeshed and the boundaries between body and environment are continually unsettled.

“For @lampodotorg, this is the first time I’ll be making something for myself as a soloist with a performative element that I’ll be engaging with in composed time, rather than just patching and playing in a more improvisatory way,” explains Watson in their 𝘓𝘢𝘮𝘱𝘰 𝘓𝘦𝘵𝘵𝘦𝘳 interview.

Photos 1-4, 6, 7 @alex_inglizian
Photo 5 @rachelsperspective
Interview @gasira.t

#synthesizer #modularsynth

ON VIEW:Works by Oscar Niemeyer, Lina Bo Bardi, Paulo Mendes da Rocha, João Vilanova Artigas, Luis Barragán, Juan O'Gorman, Carlos Raúl Villanueva, Rogelio Salmona, Eladio Dieste, Clorindo Testa, Emilio Duhart, Roberto Burle Marx, and others—photographed by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro).

Presented for the first time in the United States, LATINITUDES (combining "latitudes" and "Latin") is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana — placing works along a continuous horizon line, emphasizing shared geographies, histories, and architectural languages.

𝗚𝗮𝗹𝗹𝗲𝗿𝘆 & 𝗕𝗼𝗼𝗸𝘀𝗵𝗼𝗽 𝗛𝗼𝘂𝗿𝘀: Wed–Sat, 12–5 p.m.
Free admission, no reservations required

Presented in partnership with @chicagoarchitecturebiennial

Photo: Installation view, LATINITUDES, Graham Foundation, Chicago, 2026. Photo: Nathan Keay

ON VIEW:Works by Oscar Niemeyer, Lina Bo Bardi, Paulo Mendes da Rocha, João Vilanova Artigas, Luis Barragán, Juan O'Gorman, Carlos Raúl Villanueva, Rogelio Salmona, Eladio Dieste, Clorindo Testa, Emilio Duhart, Roberto Burle Marx, and others—photographed by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro).

Presented for the first time in the United States, LATINITUDES (combining "latitudes" and "Latin") is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana — placing works along a continuous horizon line, emphasizing shared geographies, histories, and architectural languages.

𝗚𝗮𝗹𝗹𝗲𝗿𝘆 & 𝗕𝗼𝗼𝗸𝘀𝗵𝗼𝗽 𝗛𝗼𝘂𝗿𝘀: Wed–Sat, 12–5 p.m.
Free admission, no reservations required

Presented in partnership with @chicagoarchitecturebiennial

Photo: Installation view, LATINITUDES, Graham Foundation, Chicago, 2026. Photo: Nathan Keay

“Architecture of Noise” by Nile Greenberg: 2025–26 Garofalo Fellowship Exhibition and Lecture.

The present is a battery. We inhabit a time of noise—not signal and noise, nor the noise of the past, but a gesamtkunstwerk of noise, every inch authored. We must author and reauthor our contexts and sites, remake the present, and confront its responsibilities and terrors. A call for architecture to recalibrate itself within crisis, within noise, and within its history.

Staged at the Edith Farnsworth House, the exhibition presents a constellation of work produced at architecture’s limits: a film exploring a dialogue between the present and a synthetic Chicago history; a survey of speculative mass; an illuminated archive of Chicago architecture; and a new master plan for the house.

Following the opening, the Graham Foundation hosts a lecture by Nile Greenberg on his creative process and theoretical framework.

Exhibition:
Sun, April 19, 4–6 pm (opening)
Mon, April 20, 2–6 pm (open house)
The Edith Farnsworth House
14520 River Rd, Plano, IL 60545

Lecture (RSVP required, link in bio):
Thu, April 23, 6 pm
Graham Foundation
4 West Burton Place, Chicago, IL, 60610

Credits: Courtesy of Nile Greenberg

“Architecture of Noise” by Nile Greenberg: 2025–26 Garofalo Fellowship Exhibition and Lecture.

The present is a battery. We inhabit a time of noise—not signal and noise, nor the noise of the past, but a gesamtkunstwerk of noise, every inch authored. We must author and reauthor our contexts and sites, remake the present, and confront its responsibilities and terrors. A call for architecture to recalibrate itself within crisis, within noise, and within its history.

Staged at the Edith Farnsworth House, the exhibition presents a constellation of work produced at architecture’s limits: a film exploring a dialogue between the present and a synthetic Chicago history; a survey of speculative mass; an illuminated archive of Chicago architecture; and a new master plan for the house.

Following the opening, the Graham Foundation hosts a lecture by Nile Greenberg on his creative process and theoretical framework.

Exhibition:
Sun, April 19, 4–6 pm (opening)
Mon, April 20, 2–6 pm (open house)
The Edith Farnsworth House
14520 River Rd, Plano, IL 60545

Lecture (RSVP required, link in bio):
Thu, April 23, 6 pm
Graham Foundation
4 West Burton Place, Chicago, IL, 60610

Credits: Courtesy of Nile Greenberg

“Architecture of Noise” by Nile Greenberg: 2025–26 Garofalo Fellowship Exhibition and Lecture.

The present is a battery. We inhabit a time of noise—not signal and noise, nor the noise of the past, but a gesamtkunstwerk of noise, every inch authored. We must author and reauthor our contexts and sites, remake the present, and confront its responsibilities and terrors. A call for architecture to recalibrate itself within crisis, within noise, and within its history.

Staged at the Edith Farnsworth House, the exhibition presents a constellation of work produced at architecture’s limits: a film exploring a dialogue between the present and a synthetic Chicago history; a survey of speculative mass; an illuminated archive of Chicago architecture; and a new master plan for the house.

Following the opening, the Graham Foundation hosts a lecture by Nile Greenberg on his creative process and theoretical framework.

Exhibition:
Sun, April 19, 4–6 pm (opening)
Mon, April 20, 2–6 pm (open house)
The Edith Farnsworth House
14520 River Rd, Plano, IL 60545

Lecture (RSVP required, link in bio):
Thu, April 23, 6 pm
Graham Foundation
4 West Burton Place, Chicago, IL, 60610

Credits: Courtesy of Nile Greenberg

LATINITUDES is open late this Friday, April 10, until 8 p.m. as part of @expochicagoArt After Hours.

LATINITUDES, A Collection of Latin American Modern Architecture includes more than 100 monochrome photographs by Leonardo Finotti (@leonardofinotti), made over nearly two decades across twelve Latin American cities. Printed on aluminum composite panels framed in imbuia wood (Brazilian walnut) and connected across two floors of the Madlener House by a continuous thread marking the horizon line. Curated by Michelle Jean de Castro (@michellejeancastro). Presented for the first time in the United States.

THIS WEEK: Open Friday, April 10, 12–8 p.m. &
Saturday, April 11, 12–5 p.m.
Open weekly, Wed–Sat 12–5 p.m.
Free admission. No reservations required.

Photo: Installation view, LATINITUDES, Ciudad de México, Graham Foundation, Chicago, 2026. Photo: Nathan Keay

LATINITUDES is open late this Friday, April 10, until 8 p.m. as part of @expochicagoArt After Hours.

LATINITUDES, A Collection of Latin American Modern Architecture includes more than 100 monochrome photographs by Leonardo Finotti (@leonardofinotti), made over nearly two decades across twelve Latin American cities. Printed on aluminum composite panels framed in imbuia wood (Brazilian walnut) and connected across two floors of the Madlener House by a continuous thread marking the horizon line. Curated by Michelle Jean de Castro (@michellejeancastro). Presented for the first time in the United States.

THIS WEEK: Open Friday, April 10, 12–8 p.m. &
Saturday, April 11, 12–5 p.m.
Open weekly, Wed–Sat 12–5 p.m.
Free admission. No reservations required.

Photo: Installation view, LATINITUDES, Ciudad de México, Graham Foundation, Chicago, 2026. Photo: Nathan Keay

NOW ON VIEW: Presented for the first time in the United States, LATINITUDES—combining “latitudes” and “Latin”—is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana—with São Paulo featured here.

Featuring more than 100 photographs by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro) of @lama.sp, the exhibition places works by key figures of modernism on a continuous horizon line, without hierarchy.

𝗚𝗮𝗹𝗹𝗲𝗿𝘆 & 𝗕𝗼𝗼𝗸𝘀𝗵𝗼𝗽 𝗛𝗼𝘂𝗿𝘀: Wed–Sat, 12–5 p.m.
𝗘𝗫𝗣𝗢 𝗔𝗳𝘁𝗲𝗿 𝗛𝗼𝘂𝗿𝘀: Friday, April 10, open late until 8 p.m.

Photos: Installation view, LATINITUDES. Graham Foundation, 2026. Photo: Nathan Keay

NOW ON VIEW: Presented for the first time in the United States, LATINITUDES—combining “latitudes” and “Latin”—is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana—with São Paulo featured here.

Featuring more than 100 photographs by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro) of @lama.sp, the exhibition places works by key figures of modernism on a continuous horizon line, without hierarchy.

𝗚𝗮𝗹𝗹𝗲𝗿𝘆 & 𝗕𝗼𝗼𝗸𝘀𝗵𝗼𝗽 𝗛𝗼𝘂𝗿𝘀: Wed–Sat, 12–5 p.m.
𝗘𝗫𝗣𝗢 𝗔𝗳𝘁𝗲𝗿 𝗛𝗼𝘂𝗿𝘀: Friday, April 10, open late until 8 p.m.

Photos: Installation view, LATINITUDES. Graham Foundation, 2026. Photo: Nathan Keay

NOW ON VIEW: Presented for the first time in the United States, LATINITUDES—combining “latitudes” and “Latin”—is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana—with São Paulo featured here.

Featuring more than 100 photographs by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro) of @lama.sp, the exhibition places works by key figures of modernism on a continuous horizon line, without hierarchy.

𝗚𝗮𝗹𝗹𝗲𝗿𝘆 & 𝗕𝗼𝗼𝗸𝘀𝗵𝗼𝗽 𝗛𝗼𝘂𝗿𝘀: Wed–Sat, 12–5 p.m.
𝗘𝗫𝗣𝗢 𝗔𝗳𝘁𝗲𝗿 𝗛𝗼𝘂𝗿𝘀: Friday, April 10, open late until 8 p.m.

Photos: Installation view, LATINITUDES. Graham Foundation, 2026. Photo: Nathan Keay

NOW ON VIEW: Presented for the first time in the United States, LATINITUDES—combining “latitudes” and “Latin”—is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana—with São Paulo featured here.

Featuring more than 100 photographs by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro) of @lama.sp, the exhibition places works by key figures of modernism on a continuous horizon line, without hierarchy.

𝗚𝗮𝗹𝗹𝗲𝗿𝘆 & 𝗕𝗼𝗼𝗸𝘀𝗵𝗼𝗽 𝗛𝗼𝘂𝗿𝘀: Wed–Sat, 12–5 p.m.
𝗘𝗫𝗣𝗢 𝗔𝗳𝘁𝗲𝗿 𝗛𝗼𝘂𝗿𝘀: Friday, April 10, open late until 8 p.m.

Photos: Installation view, LATINITUDES. Graham Foundation, 2026. Photo: Nathan Keay

GRANTEE TALK: Italian Journeys—Tuesday April 7 at 6 p.m.
Andrea Bagnato in conversation with Jennifer Scappetone

Andrea Bagnato’s Terra Infecta, recently published by @mack_publishing , traces a political ecology of the Italian landscape—examining how the modern pursuit of sanitation shaped cities and countryside through architecture, demolition, and displacement. Tomorrow Bagnato is joined by Jennifer Scappettone for a discussion at the Graham Foundation on the long-term markings that fascism, internal colonialism, and modernization have left on the physical environment, and how different narrative forms can help us make sense of ecological change.

Free, RSVP via link in bio.

Presented with support from the Istituto Italiano di Cultura di Chicago

Image 2: Marjory Collins, Life in Matera before the evictions, 1950. Photograph. Courtesy Schlesinger Library, Harvard Radcliffe Institute, Cambridge, MA.​​​​​​​​​​​​​​​​

GRANTEE TALK: Italian Journeys—Tuesday April 7 at 6 p.m.
Andrea Bagnato in conversation with Jennifer Scappetone

Andrea Bagnato’s Terra Infecta, recently published by @mack_publishing , traces a political ecology of the Italian landscape—examining how the modern pursuit of sanitation shaped cities and countryside through architecture, demolition, and displacement. Tomorrow Bagnato is joined by Jennifer Scappettone for a discussion at the Graham Foundation on the long-term markings that fascism, internal colonialism, and modernization have left on the physical environment, and how different narrative forms can help us make sense of ecological change.

Free, RSVP via link in bio.

Presented with support from the Istituto Italiano di Cultura di Chicago

Image 2: Marjory Collins, Life in Matera before the evictions, 1950. Photograph. Courtesy Schlesinger Library, Harvard Radcliffe Institute, Cambridge, MA.​​​​​​​​​​​​​​​​

GRANTEE TALK: Italian Journeys—Tuesday April 7 at 6 p.m.
Andrea Bagnato in conversation with Jennifer Scappetone

Andrea Bagnato’s Terra Infecta, recently published by @mack_publishing , traces a political ecology of the Italian landscape—examining how the modern pursuit of sanitation shaped cities and countryside through architecture, demolition, and displacement. Tomorrow Bagnato is joined by Jennifer Scappettone for a discussion at the Graham Foundation on the long-term markings that fascism, internal colonialism, and modernization have left on the physical environment, and how different narrative forms can help us make sense of ecological change.

Free, RSVP via link in bio.

Presented with support from the Istituto Italiano di Cultura di Chicago

Image 2: Marjory Collins, Life in Matera before the evictions, 1950. Photograph. Courtesy Schlesinger Library, Harvard Radcliffe Institute, Cambridge, MA.​​​​​​​​​​​​​​​​

GRANTEE TALK: Italian Journeys—Tuesday April 7 at 6 p.m.
Andrea Bagnato in conversation with Jennifer Scappetone

Andrea Bagnato’s Terra Infecta, recently published by @mack_publishing , traces a political ecology of the Italian landscape—examining how the modern pursuit of sanitation shaped cities and countryside through architecture, demolition, and displacement. Tomorrow Bagnato is joined by Jennifer Scappettone for a discussion at the Graham Foundation on the long-term markings that fascism, internal colonialism, and modernization have left on the physical environment, and how different narrative forms can help us make sense of ecological change.

Free, RSVP via link in bio.

Presented with support from the Istituto Italiano di Cultura di Chicago

Image 2: Marjory Collins, Life in Matera before the evictions, 1950. Photograph. Courtesy Schlesinger Library, Harvard Radcliffe Institute, Cambridge, MA.​​​​​​​​​​​​​​​​

Presented for the first time in the United States, LATINITUDES—combining the words "latitudes" and "Latin"—is a photographic survey of modern architecture across twelve Latin American cities, organized from south to north: Montevideo, Buenos Aires, Santiago, São Paulo, Lima, Quito, Bogotá, San José, Caracas, Guatemala City, Mexico City, and Havana. Featuring more than 100 photographs by Leonardo Finotti (@leonardofinotti) and curated by Michelle Jean de Castro (@michellejeancastro) of @lama.sp, the exhibition places works by key figures of modernism on a continuous horizon line, without hierarchy.
𝗢𝗻 𝘃𝗶𝗲𝘄 𝗔𝗽𝗿𝗶𝗹 𝟮 – 𝗝𝘂𝗹𝘆 𝟭𝟴
𝗢𝗽𝗲𝗻𝗶𝗻𝗴 𝗼𝗻 𝗔𝗽𝗿𝗶𝗹 𝟮 with a talk by Leonardo Finotti on “Latinitudes” and the related publication series "A Collection of Latin American Modern Architecture" (@larsmullerpublishers), followed by a reception.

Images: © Leonardo Finotti

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

Forever grateful for the opportunity to work with Dominic Kießling’s magical cloud and Mickey Farès’s dreamy music at the 6th Chicago Architecture Biennial

Deeply grateful to the @grahamfoundation for offering the space and time to develop this work.

Sharing the performance in the Madlener House ballroom, where I experimented with Dominic’s sculpture throughout the autumn, was a beautiful homecoming. Thank you to everyone who joined us there.

氣
Performance by Irene Hsiao @irenechsiao
Cloud by Dominic Kießling @dominic_kiessling
Music by Mickey Farès @mickeykfares
Graham Foundation, February 28, 2026
@chicagoarchitecturebiennial

Thank you @williamfrederkingphotography for these photos

🙏🏼🌬️💨🤍✨
#monde月亮代表我的心 #氣 #chicagoarchitecturebiennial #cab6

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

CLOSING WEEK—“Fragmented Manifestos" brings together episodes from recent architectural history through drawings, writings, diagrams, installations, and proposals by Amancio Williams, Sergio Prego, Anne Tyng, Diller Scofidio + Renfro, Charles Jencks, Stan Allen, and a collaboration between MOS and Tony Cokes.

SHIFT: Architecture in Times of Radical Change, the sixth edition of the Chicago Architecture Biennial, closes Saturday, February 28.

Photos: Bob.

@zoshazosha @lampodotorg 2/21/26 @grahamfoundation

Message from an audience member: “Hi... that was a special show last night.”

Our review: um, wow.

In 𝘥𝘪𝘭𝘢𝘵𝘪𝘰𝘯𝘴, Zosha Warpeha treats body, instrument, and room as a single resonant system. She performs on the hardanger d’amore, a fiddle with additional sympathetic strings that enrich its sound. Here, moving slowly among the audience, she settles into distinct positions for each musical movement, so that changes in proximity and angle affect what each listener hears.

Photos @alex_inglizian

@zoshazosha @lampodotorg 2/21/26 @grahamfoundation

Message from an audience member: “Hi... that was a special show last night.”

Our review: um, wow.

In 𝘥𝘪𝘭𝘢𝘵𝘪𝘰𝘯𝘴, Zosha Warpeha treats body, instrument, and room as a single resonant system. She performs on the hardanger d’amore, a fiddle with additional sympathetic strings that enrich its sound. Here, moving slowly among the audience, she settles into distinct positions for each musical movement, so that changes in proximity and angle affect what each listener hears.

Photos @alex_inglizian

@zoshazosha @lampodotorg 2/21/26 @grahamfoundation

Message from an audience member: “Hi... that was a special show last night.”

Our review: um, wow.

In 𝘥𝘪𝘭𝘢𝘵𝘪𝘰𝘯𝘴, Zosha Warpeha treats body, instrument, and room as a single resonant system. She performs on the hardanger d’amore, a fiddle with additional sympathetic strings that enrich its sound. Here, moving slowly among the audience, she settles into distinct positions for each musical movement, so that changes in proximity and angle affect what each listener hears.

Photos @alex_inglizian

@zoshazosha @lampodotorg 2/21/26 @grahamfoundation

Message from an audience member: “Hi... that was a special show last night.”

Our review: um, wow.

In 𝘥𝘪𝘭𝘢𝘵𝘪𝘰𝘯𝘴, Zosha Warpeha treats body, instrument, and room as a single resonant system. She performs on the hardanger d’amore, a fiddle with additional sympathetic strings that enrich its sound. Here, moving slowly among the audience, she settles into distinct positions for each musical movement, so that changes in proximity and angle affect what each listener hears.

Photos @alex_inglizian

@zoshazosha @lampodotorg 2/21/26 @grahamfoundation

Message from an audience member: “Hi... that was a special show last night.”

Our review: um, wow.

In 𝘥𝘪𝘭𝘢𝘵𝘪𝘰𝘯𝘴, Zosha Warpeha treats body, instrument, and room as a single resonant system. She performs on the hardanger d’amore, a fiddle with additional sympathetic strings that enrich its sound. Here, moving slowly among the audience, she settles into distinct positions for each musical movement, so that changes in proximity and angle affect what each listener hears.

Photos @alex_inglizian

@zoshazosha @lampodotorg 2/21/26 @grahamfoundation

Message from an audience member: “Hi... that was a special show last night.”

Our review: um, wow.

In 𝘥𝘪𝘭𝘢𝘵𝘪𝘰𝘯𝘴, Zosha Warpeha treats body, instrument, and room as a single resonant system. She performs on the hardanger d’amore, a fiddle with additional sympathetic strings that enrich its sound. Here, moving slowly among the audience, she settles into distinct positions for each musical movement, so that changes in proximity and angle affect what each listener hears.

Photos @alex_inglizian