by Stephen F. Eisenman | October 1, 2018“For the many, not for the few”: Market Reflections on EXPO Chicago 2018’s Commercial Offerings
by Stephen F. Eisenman | August 3, 2017The Age of Chivalry is Gone The Art Institute Debuts the Deering Family Galleries of Medieval and Renaissance Art, Arms and Armor
by Stephen F. Eisenman | June 2, 2017Just an Eye, But What an Eye A Review of “The Photographer’s Curator” at the Art Institute of Chicago
by Stephen F. Eisenman | May 5, 2017To What Ends Do We Conquer Nature? A Review of “The Earth Will Not Abide” at Gallery 400
by Stephen F. Eisenman | April 17, 2017The Tangled Case of the Coxcomb and his Mom Whistler’s Mother Visits the Art Institute of Chicago
by Stephen F. Eisenman | March 9, 2017The Arts Club Exhibits an Unrealized Installation by an Abstract Master A Review of Ralph Coburn at The Arts Club of Chicago
by Stephen F. Eisenman | December 16, 2016Painting Black and Blue A Review of Norman Lewis at the Chicago Cultural Center
by Stephen F. Eisenman | November 25, 2016Something is Happening Here A Review of Kemang Wa Lehulere at The Art Institute of Chicago
by Stephen F. Eisenman | October 26, 2016Eyes Wide Shut: The Artist as Producer A Critical Look at “Moholy-Nagy: Future-Present” at the Art Institute of Chicago
by Stephen F. Eisenman | September 29, 2016Eye Exam: A Genuine Connoisseur Looking at "Master Drawings Unveiled: 25 Years of Major Acquisitions" at the Art Institute of Chicago
