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25!

25! 25! moniquemeloche 1

25!

25th Anniversary Exhibition Monique Meloche Gallery April 5 - May 23, 2025

Introduction by Franklin Sirmans Essay by Monique Meloche Edited by Staci Boris Photographed by Bob. Designed by Julia Marks

This catalogue was published on the occasion of 25!, a landmark group exhibtion at Monique Meloche Gallery, Chicago

Table of Contents Introduction

Essay

Installation Views

Artworks

106

Biographies

186

Exhibition Checklist

194

Acknowledgements

200

Introduction by Alyssa Brubaker by Franklin Sirmans 11

Like many others, I count myself blessed to have been in the orbit of Monique Meloche Gallery and Monique and Evan for many years. How is it almost 25 years since the first shows at the gallery? Joel Ross, Rob and Mike, Laura Mosquera and Dzine/Carlós Rolon were all amongst the artists from day 1, in the fall of 2000. The following year, in the Bronx, in the fall, Lydia Yee and I opened One Planet Under A Groove: Contemporary Art and Hip Hop. It was my first museum curatorial effort. Located in the South Bronx, the show started at the Bronx Museum of the Arts in what could be called its original territory. It would travel to Atlanta, Minneapolis, and Munich. It included Max King Cap, a student of the great McArthur Binion at Columbia College in Chicago, who made my intros to Monique and Chicago’s art scene viable. The brilliant artist McArthur Binion— who honed many a talent at Columbia College, putting the program on the map before concentrating on his own career—had his own comeup in the late 1970s NYC of jazz meets punk makes hip hop. With little credentials to my name, MacArthur invited me to speak at Columbia. Shortly before that, Freestyle opened earlier in the year at The Studio Museum in Harlem, and was the talk of New York in the late spring of that infamous year, 2001. Rashid Johnson, the youngest artist in Freestyle, was Chicago’s rookie of the year and an integral part of the MMG team; also a student of the sagacious, loquacious, and energetic abstract artist, Binion. Rashid would have his debut solo show, The Rise and Fall of the Proper Negro, in his hometown two years later at Monique’s. We were/are mutant babies of a forever 9/11 world who were starting our working lives in a world that hasn’t really looked right since, inheritors of some evil dreamers and bad blood. Monique has gone on, in the last 25 years, to showcase some of the best, most interesting artists of our time. And, of course, it was in 2005, only four years removed from meeting, that we made Things Fall Apart, a group exhibition at the gallery that highlighted the synergy we had in the conception of art shows and putting great artists in the same room. MMG had already started an annual group show in the spring.

Taking Chinua Achebe quoting Yeats and the inspiration of The Roots 1999 album of the same title, we assembled an international group of artists including Johnson (who did his titular work, a broken reconstructed table, painted monochromatically white, next to a tv with his video documentation, come first or on occasion, I don’t remember); William Cordova and Jeff Sonhouse, with Nikki S. Lee and Jacqueline Salloum, among others. Fortunately, art fairs and big international shows keep us together in this game. Last week, in NYC for the spring art fairs, I got to rub shoulders for a moment with Monique and Evan at an event featuring dear Cheryl Pope, another one of the many great artists who call MMG home… blessed. Here’s to the next 25! - Franklin Sirmans, Director of the Pérez Art Museum Miami, 2025

Monique and Franklin, Miami, 2008

Essay

by Monique Meloche 15

2000-2004: the lean mean years Our first show Homewrecker was pre-Instagram, pre-email, pre-just-about-everything. We snail-mailed 800 invites, and 350 people showed up that night on October 19, 2000 in our Ukrainian Village home. Homewrecker featured early work by Chicago-based artists Carla Arocha, Karen Reimer, Laura Mosquera, and Carlos Rolón (then Dzine), alongside then emerging now internationally recognized artists like Marcel Dzama, Hans op de Beeck, and Hernan Bas. The late great Chicago collector Lewis Manilow, co-founder of the Museum of Contemporary Art Chicago and full-on patron saint of this gallery, showed up at 4:59 p.m. with a checkbook in hand and bought two works before wine was even poured. Later, he’d go on to purchase a painting by Laura Mosquera and photography by Rashid Johnson, both of which he ended up donating to the MCA. What we originally thought would be a short-term pop-up turned into a threemonth marathon, with curators and museum groups regularly stopping by. It became clear: this wasn’t temporary—this was the beginning. Maybe we were onto something… I came to Chicago to pursue an M.A. in Art History and Theory from The School of the Art Institute of Chicago (after getting my B.A. in Art History from the University of Michigan) and scored a temporary role as an auction assistant at the Museum of Contemporary Art. That evolved into six years at the MCA, first in the registrar’s office, then as assistant curator. I worked alongside brilliant minds: Staci Boris (now Director of Exhibitions at SAIC), Dominic Molon (now Curator of Contemporary Art at RISD), and the inimitable Lynne Warren, who was working on the landmark Art in Chicago: 1945–1995 exhibition. From there, I convinced Rhona Hoffman to hire me as Director (she was turning 60 at the time and just now closed her gallery to work on other projects at age 90). She not only gave me a desk but gave me the confidence to imagine a gallery of my own. With Rhona’s support, I mounted my master’s thesis show, No Small Feat, a history of the shoe in contemporary art featuring Andy Warhol, Phillip Guston, Ed Paschke, Doris Salcedo, Gary Simmons, and many others in 1997. After a brief but formative stint at another gallery, and with the persistent encouragement of Lew Manilow who reminded me that Chicago has always made room for the bold, I decided not to wait for the perfect white cube. Chicago’s long history of apartment galleries and alternative spaces gave us the blueprint. The art world has a short memory, so I didn’t want to waste any time. I just went for it and, with the blessing of my new husband (and business partner) Evan Boris, opened the gallery in our home in October 2000. In January 2001, before we technically had a brick-and-mortar space, we participated in our first fair, Art Miami, with a solo booth by Carla Arocha. Around that time, Evan (then working in commercial real estate) found a street level 16

space in the West Loop (what is now Fulton Market) back when the neighborhood was still meatpacking by day and deserted by night. It was pioneering territory, but it felt right. We officially opened our first gallery space at 951 W. Fulton Market on May 4, 2001 with Joel Ross’s solo exhibition I Borrowed My Mother’s Bedroom. It was a conceptual tour-de-force, and the most intimate portrait of a woman. The title wasn’t metaphorical—Joel literally borrowed his mother’s bedroom from Texas. With haunting precision, he installed her bed, carpet, wardrobe, and clothes in the center of the gallery. My vision was to open a space with a curatorial mission, so the checklist listed the price as “ask Joel’s mother” since nothing was for sale. The gallery space itself had been designed on a napkin over martinis. An architect friend Geoff Brooksher sketched out an idea to create a sunk in art arena with 24-foot ceilings. Our landlord rigged industrial Home Depot lights that we got from Thomas Blackman (then the owner of Art Chicago) with airplane cable. Evan and I financed the entire venture ourselves (with a meaningful contribution from my dear friend from undergrad Michael Crocker). It was wildly ambitious and deeply DIY. But we believed in it. A week later we also opened DISCO, (a group show staged a few blocks away at the now long defunct Arena Gallery) to coincide with the Art Chicago fair. The exhibition featured spectacular, glittering, multi-media installations by artists from Madrid, Stockholm, Switzerland, New York, and Venezuela. With help from Chicago-based music impresario Joe Shanahan, a Tokyo-based DJ spun for a packed crowd, and Tobias Bernstrup performed a New Wave set. It was wild, theatrical, and utterly fabulous. People still sing Berntstrup’s Young Boys at Midnight to us. It became the premier party of Art Chicago and our dear art world friends Amanda Coulson and Uli Lang fell in love on the dance floor! At the time, painter Patricia Treib was our gallery assistant and Ruba Katrib was our intern. Patricia is now a celebrated artist based in NY and Ruba is the Chief Curator of MOMA PS1. Love that so many of our former employees have gone on to such prominent careers both in and beyond the art world. On September 7, 2001, Carla Arocha opened her solo show Underground, an abstract reflection on the Tokyo subway sarin gas attacks, just days before 9/11. She and her husband, painter Luc Tuymans, were stuck in Chicago under no-fly orders, and we found ourselves giving interviews about the eerie timing of the exhibition, trying to make sense of everything while the world shifted around us. In October, we opened Laura Mosquera’s solo show, which coincided with her debut in the MCA’s inaugural 12 X 12 series and the completion of her CTA commission at the Chicago Avenue Red Line station. It was the kind of triple-crown 17

moment that affirmed what we were building. Laura was the first of many artists from our program to participate in 12 X 12 (now Chicago Works), followed soon after by Rashid Johnson, John White Cerasulo, Cindy Loehr, Joe Baldwin, and more. In December, even though the first edition of Art Basel Miami Beach was postponed due to 9/11, we participated in the satellite fair Fast FWD at the Hotel Nash, as we had already committed to it. With help from my friend Lauren Weiner (now Lauren Taschen), we traveled DISCO to Wynwood, which at the time was still a gritty industrial stretch. The Rubell Family generously housed our artists and we celebrated with an afterparty at Crobar thanks to our longtime Chicago nightclub pal Paolo Pincente. Carla Arocha and John Armleder were on the marquee, and Don and Mera Rubell were seen dancing into the night. That trip sealed it for me—Miami was an extension of our voice. The years that followed were dizzying in the best way. In 2003, Rashid Johnson had his first solo show with us. Charlie Ahearn curated the exhibition Yes Yes Y’all, celebrating the birth of hip hop, with photos by Jamel Shabazz and an afterparty at Smartbar hosted again by Joe Shanahan, and why didn’t I buy any photographs?! Tobias Bernstrup turned the gallery into a blackened nightclub for his animated video installation. Joe Baldwin’s sold-out show landed us our first Artforum review. That fall, I did the first Artissima fair in Torino, Italy — shipping a single crate, opening it with a borrowed screw gun, hanging the booth myself, and waiting for Evan to join me for the last day. I didn’t sell a thing, but it was truffle season in Italy…there were no wrong turns... In June 2004, we returned to LISTE in Basel for our second year at the fair with a solo presentation by Rashid Johnson. The plan was ambitious. Rashid had envisioned a large central sculpture from his Homage to Chinua Achebe series, constructed from tables he would first throw off a rooftop — a gesture of rupture, violence, and poetic reconstruction. He intended to create the work on-site, sourcing furniture in Basel, but Switzerland was not having it. The lone furniture store within reach refused to sell us anything off the floor, even after I offered to pay double in cash. Slightly delirious and completely out of ideas, we wandered down a quiet alley and that’s when we saw them. A row of Davos sleds, pristine and inexplicably free, sat beside a handwritten zu verschenken sign at a yard sale. A miracle disguised as a clearance pile. Rashid and I carried the two sleds to the old brewery where LISTE was held and hauled them up to the rooftop. He tried to smash them by throwing them off the roof, but those things were Swiss-made, thick with alpine resilience, and refused to break. After several attempts, Rashid asked me to start painting one of them white while he stomped on the other until it finally splintered just enough to carry the gesture. When the crate finally arrived after being waylaid in customs, twenty minutes before the VIP preview, we installed the rest of the work, then 18

popped the sleds on top of the crate as a makeshift pedestal. Improvisation masquerading as intention. The first collectors in the booth were Jerry Speyer and his family. They bought the installation on the spot, and now, all these years later, it’s proudly included in Rashid’s 2025 Guggenheim retrospective. We ended 2004 by moving, as Fulton Market was being discovered by the likes of Google. We couldn’t afford to stay when our rent quintupled, so we moved next door to Rhona Hoffman, still in the West Loop on Peoria Street. We made a few changes, and Gabert Farrar, then one of our artists, designed custom desks for the space. That’s how it went in those early years…no blueprint, no roadmap, just instinct, energy, and a deep belief in the artists we represented. What we lacked in resources, we made up for in resourcefulness. And style.

2005–2009: making it work and the recession In 2005, we invited Franklin Sirmans to curate a group exhibition titled Things Fall Apart. Then a young, budding, independent curator, Franklin introduced us to work by Jeff Sonhouse, Roberto Visani, Jacqueline Salloum, and others. I didn’t have a budget for a curatorial fee, so we agreed to fly him in from New York, he’d stay in our guest room, and if we sold anything, we’d split the profits. If I remember correctly, our only sale was the Sonhouse that Evan and I bought, as the Rashid Johnson piece was on loan! In January 2006, we launched our Winter Experiment series, offering artists a minimal budget but total creative control. Justin Cooper, a recent SAIC grad introduced to me by Rashid Johnson, performed four weekly works to standing-room-only crowds. The performances included air-popped popcorn raining down from the lighting track, a black-robed drummer, and a bizarre yet comedic group therapy session. I loved the spontaneity and unpredictability of Justin’s work, and he was later commissioned by SAIC to perform in Miami during Art Basel for several years. Most exhibitions are planned years in advance, so being able to offer an artist a chance to experiment last-minute felt exciting and rare. Later that year, my cheerleading past inspired the show Bring It On!, a multimedia group exhibition that explored the all-American phenomenon of cheerleading — a sport, an identity, a pop culture obsession. The exhibition featured artists like Brock Enright, Brian Finke, Luis Gispert, Cassandra C. Jones, and the collaborative New Catalogue, each investigating the cheerleader as icon: from hyper-stylized pageantry to camp to critique. On opening night, the Chicago Spirit Brigade performed in full uniform to raise awareness for HIV and AIDS. And our entire gallery staff wore pleated cheer skirts and custom American Apparel varsity jackets embroidered with our logo. They were mostly mortified, but I won them over eventually. 19

It was playful, yes, but it also felt full circle. I began cheerleading in middle school and in high school we started competing. Our squad placed 2nd in the state! I was recruited by Dynamic Cheerleaders Association (DCA) to teach middle and high school students at summer camps around the country on college campuses, which I did for five summers after high school graduation and throughout my undergrad years, while studying art history at the University of Michigan – Go Blue! It was where I first discovered the joy of building something from scratch — of being the one to rally people together and energize a crowd. That show was a chance to bring that part of myself into the gallery. It ended up being one of the best team bonding experiences we’ve ever had. In 2007, we hosted a group show called Chronic, curated by Astrid Honold. The exhibition featured international artists Folkert de Jong, Fendry Ekel, and Dylan Graham, who had met at the Rijksakademie, with a catalogue funded by the Mondriaan Fund in Amsterdam, and the Dutch Consulates in New York and Chicago. That same year, Carla Arocha, in collaboration with Stéphane Schraenen, presented a major hanging mirrored Plexi installation that helped cement their nearly 20-year collaborative practice. Carla also completed a permanent mirrored installation at the CTA’s Howard Red Line station and went on to create a major work for the MCA Chicago’s atrium, now in their permanent collection. That same year we debuted the work of Sheree Hovsepian (then in collaboration with Heidi Norton and before she and Rashid Johnson were married), recent SAIC grad and Fullbright Scholar Carrie Schneider, and emerging video artist Shana Moulton in the group show How Do I Look?. In 2008, Rashid had a solo exhibition at the Kunstmuseum Magdeburg in Germany, which resulted from an acquisition from our presentation at Preview Berlin art fair two years prior. The opening was full of excitement and the museum acquired several additional works, after which the true colors of the landscape unraveled when Rashid, his assistant Larry, Evan, and I went to a karaoke bar. Most of the crowd cleared the building upon seeing two Black men enter. The racism was stark. But I’ll never forget Evan and Rashid singing their rendition of “The Gambler”. We gave Rashid the entire month of August to take over the gallery for the season opener, The New Escapist Promised Land Garden and Recreation Center. He transformed the space into a private club for a fictional Black elite society, and it marked the first time he incorporated live plants into his work. Some of those plants — potted palms from Home Depot placed in plastic containers covered in black soap, wax, and gold spray paint — are still alive in our home today.

Later, Evan discovered the work of Ebony G. Patterson at a short-lived fair called The Stray Show, which ran alongside Art Chicago at the Merchandise Mart. A now-defunct L.A. gallery was showing two Jamaican artists and Evan came rushing to our booth saying, “You have to see this.” Nick Cave happened to be in the elevator with me, also on his way to see the work, and we both ended up purchasing a piece that day. Ebony joined a group show with us the following year and would go on to have her first solo show with the gallery in 2011. Though exciting things were happening at the gallery, the economic downturn caught up to us. We had to make tough decisions, including letting go of our beloved staff member Jenny Shedor. Thankfully, she understood and came back to help the gallery many times over the years. When we reunited, she took back her old staff jacket. That meant a lot. In 2009, we moved to 2154 W. Division Street in Wicker Park.

2010–2014: downsizing and making it work Whitney Tassie, who had worked her way up from part-time gallery assistant, was promoted as our first director just before the move. We shared hotel rooms from New York to Miami to London, and I taught her the healing properties of YogaToes to help get her through art fairs in high heels. Even though our footprint got smaller, the gallery continued to grow globally, and I finally had someone on staff who I trusted implicitly to be my second in command. Our new space was smaller and we used every inch of it intentionally. Our building was on the corner of Division and Leavitt with floor to ceiling windows, so we set the front 25-foot-long wall back by three feet to create space for public programming and launched our On the Wall series. We also transformed the powder room into Porcelain Projects, a dedicated video space. We were determined not to let the economy stop our momentum. We adjusted, we edited, and we kept going. Dan Gunn was a graduate of SAIC, but I had not heard of him until I saw a solo show at a funky apartment gallery called Lloyd Dobler in 2010. For Winter Experiment in 2011 we offered four artists a one-week show, and Dan wowed us enough for us to offer him representation and a solo show later that same year, and the MCA also gave him a 12 X 12 solo show. We ended up restaging the MCA installation in our front gallery during Dan’s 2021 exhibition at the gallery. In 2010, our inaugural On the Wall series opened with Butch Queen 5 by Brazilian artist assume vivid astro focus. The idea was simple: transform the gallery’s street-facing entry wall into a site-specific project space that would be visible to the public 24/7. Rashid’s wall installation Remembering D.B. Cooper proved to 21

be a testing ground for his 2013 outdoor sculpture project at Ballroom Marfa and the inspiration for the hanging palms in his 2025 Guggenheim survey show. On the Wall was generously supported by the Wicker Park/Bucktown SSA#33. The following year, with Art Chicago on the decline, we partnered with the James Hotel and Mercedes to launch Chicago Gallery Weekend. I worked closely with Chicago dealers Scott Speh and Andrew Rafacz, taking cues from the Berlin model and adapting it to Chicago. We hosted a 150-person sit-down dinner at the James Hotel, organized special programming at invited galleries and museums, and shuttled guests around in Mercedes cars. We ran CGW for a few years and eventually folded it into EXPO Chicago’s early programming with Tony Karman, who had supported the idea from the beginning. Today, it lives on as Chicago Exhibition Weekend, expanded and reimagined through Gertie, with Abby Pucker at the helm. Halfway through the opening for Karen Reimer’s 2011 solo show, the lights went out. We thought it was a fuse/breaker problem, so we lit the gallery with extension cords and borrowed uplighting from our On the Wall windows. A review later described the lighting as “intimate,” and we didn’t correct them. At our post-opening dinner, we got a call from a concerned neighbor that an electrical fire had fried the wiring in the ceiling and the fire department was about to break into the gallery. Evan rushed past the fire chief and saved every one of Karen’s delicately embroidered pillowcases, pulling them off the ceiling mounted clips before the fire hoses came out. Meanwhile, the condo residents above the gallery moved their cars so we could run a bucket brigade to save works from our storage and store them in the garage. In 2012, after two years of asking, Kerry James Marshall finally agreed to participate in the On the Wall series. He kept all the details a secret, installed the work overnight, and revealed it to us the next morning. It featured multiple images of real and made-up folks like Cleopatra Jones and Denmark Vesey set against an upholstered wall of the colors of the Pan African flag and wrapped up in bows like a little present to Black history. He told me later it had helped him form the foundation of his thinking for the 2014 Prospect.3 triennial in New Orleans. During its run, Kerry’s installation piqued the curiosity of a group of young girls who attended Roberto Clemente High School just West of the gallery. After they gained the courage to open the door to ask a question, I gave them passes to the Art Institute of Chicago, which they had never been to, so they could go see more of Marshall’s work. In 2012, Rashid had his first museum survey show, which originated at the Miami Art Museum (now PAMM) and traveled to the MCA Chicago. It was an amazing accomplishment to be recognized so publicly in his hometown, but I think Rashid may have been more excited to throw out the first pitch at the Chicago Cubs game the day before the opening. 22

I had known Sanford Biggers’ work since his MFA at SAIC and we shared lots of mutual friends. In the fall of 2012, then SAIC president Walter Massey had a fireside chat with Sanford (both Morehouse grads) at the home of Gary and Denise Gardner. Evan and I took Sanford to lunch the following day and we offered him representation. In Spring 2013, Sanford presented an On the Wall project with his vintage quilt paintings paired with LED cloud sculptures and cutouts of escaped slave Gordon also known as “Whipped Peter.” The MCA acquired a quilt and a cloud on opening night. In 2012, I was invited by the University of Illinois in Chicago to their open studios for its first-year grads and was taken with Ben Murray’s paintings of above ground pools and neglected upside-down basketball hoops nostalgic to the memories of growing up outside of Gary, Indiana. When I attended his MFA show the following year, I couldn’t get his paintings off my mind. Evan came to see them and agreed and a few days later met and offered him a show! This courtship usually doesn’t go this quickly. In 2013, Cheryl Pope pulled up outside the gallery in her green 1971 muscle car and asked for twenty minutes of my time. She wanted to drive me west— through the Puerto Rican neighborhood of Humboldt Park—and pitch a show. The project would center youth from Chicago’s South and West sides, giving them space to speak out on gun violence and public grief. That drive became Just Yell, a multi-media exhibition with a one-night performance called Drive by in 5 acts, where visitors could climb into the back of vintage muscle cars lined up in front of the gallery to hear teenagers perform original spoken word poetry while driving the same route Cheryl had taken me months before. In 2015 Cheryl was invited to perform at the White House! I flew to Kingston, Jamaica in April of 2014 for Ebony G. Patterson’s commissioned performance Invisible Presence: Bling Memories, part of 'En Mas’, a project organized around Carnival season. Ebony had bribed the appropriate people to allow her and 49 others to carry 50 hand-embellished coffins through the streets of Kingston in the annual Carnival parade. The procession started at the Texaco station where Ebony used to wait for the bus as a kid, and we anxiously awaited permission to “officially/un-officially” join in the parade. We got the go-ahead, and Ebony’s contribution included a marching band, dancers, Soca drummers, a full film crew, and invited guests like me and Ebony’s mom, who I met for the first time that day. Ebony told me to come dressed for a Bling Funeral, so I showed up in a festive jumpsuit and heels — not realizing I’d be marching for an hour and a half in the Jamaican sun. Eventually, they tapped us out of the parade just before we reached the commercial district, and the group laid the coffins in a pile. Ebony gave a speech and said they’d be scrapped. I told her the only thing we were scrapping was our original plan for the Untitled Miami art fair. 23

Eight months later, we showed all 50 coffins at Untitled. It landed on the front page of The New York Times arts section and has since been exhibited internationally. This work also began the conversation with PAMM director Franklin Sirmans about Ebony’s seminal show four years later in Miami that travelled to the Speed Museum and the Nasher Museum of Art at Duke University. The installation is now part of the exhibition Project a Black Planet: The Art and Culture of Panafrica, organized by the Art Institute of Chicago and traveling to MACBA in Barcelona. At a recent panel at AIC, Ebony thanked me for believing in her before she believed in herself in regard to this ambitious project.

2015–2019: growing and glowing Our first show with Nate Young opened in 2015, the same year we did a solo booth with him at Artissima in Torino, Italy. Our then-director Allison Glenn suggested we produce a bilingual publication for the fair. With the help of independent curator Rossella Farinotti, we printed a small book, and just like that, our publication program was born. I made my first studio visit to Nate earlier that year in Minneapolis. He was cleaning a set of horse bones he claimed were unearthed from where his great-grandfather had buried him. The story went: his great-grandfather escaped a lynching on a stolen horse and migrated North on horseback. That kind of storytelling stays with you, and the bones ended up being embedded in many of his sculptures over the years. In 2016, we hosted Amy Sherald’s first solo exhibition after including her in a group show the year before. One day, Thelma Golden walked through the door. Two years later, Amy painted the official portrait of First Lady Michelle Obama. At the time, our exhibition catalogues were digital, so when Amy was invited to the White House, we put together a makeshift booklet. I still have a photo of her in the Oval Office, the booklet sitting beside her on a settee. Since then, we’ve facilitated her first museum show at CAM St. Louis (which traveled to Spelman College and Crystal Bridges). Her first major museum survey organized by SFMoMA travelled to the Whitney Museum in New York, and is now at the Baltimore Museum of Art after Amy pulled out of showing at the National Portrait Gallery in D.C. due to censorship. I am proud to say that almost half of the exhibition features paintings we placed in public and private collections. In 2016, we also started a 3-year annual pop-up at 2 Rivington on the Lower East Side in New York to coincide with the Armory Show. We launched this satellite space with work by Ebony G. Patterson and Sanford Biggers, followed by a solo show with Amy Sherald in 2017, and a solo installation by Nate Young in 2018 that was acquired by our friend, artist Theaster Gates.

In 2016, curator Eric Shiner introduced me to fellow Canadian Brendan Fernandes, who had a fellowship at Northwestern University. I offered him our January 2017 Winter Experiment slot, and he thoughtfully exhibited Free Fall—the installation which we restaged in 25!—which was made in remembrance to the 49 lives lost in the Pulse nightclub shooting, a gay bar in Orlando, Florida. On opening night, he staged a performance with a single dancer and a DJ who would dance until the music was abruptly cut, then fall to floor — an act he repeated 49 times. A curator at the Getty Museum in LA saw our Instagram post and commissioned Brendan to stage a larger version of the performance on their outdoor terrace. Several years later the Canada Council for the Arts commissioned him to make a film for the project which was also in our exhibition and now owned by the Remai Modern in Canada. In 2018, we moved to our current gallery location at 451 N. Paulina in West Town. The economy had stabilized and our artists were gaining momentum. It was clear we needed more staff and more room to grow. Evan found the space, a unique L-shaped floorplan tucked behind Ashland. When I came for the first walkthrough, I realized Rashid Johnson’s former apartment where I had made our first studio visit was directly across the street. That felt like a sign. With the help of Dirk Denison Architects, we realized our dream space where I finally have my big girl office and artist Nate Young collaborated with Denison to hand craft our reception desk and library. That same year, Ebony G. Patterson’s solo show at PAMM opened in Miami. Instead of participating in any Miami fairs, we spent every day meeting clients and curators at the museum, including exhibition sponsor Christian Louboutin — who not only acquired a major tapestry for himself but generously gifted me several pairs of stunning shoes! Also in 2018, we were introduced to Maia Cruz Palileo by our then NY-based dealer friend Taymour Grahne. We walked into the studio and were immediately floored by the paintings. Maia shared stories about their research in the Philippine Collection archives of the Newberry Library in Chicago and we offered them a show on the spot. Both Rashid Johnson and Ebony G. Patterson acquired works from the 2019 show. I always know we are heading in the right direction when our own artists are supporting each other. In 2019, we presented new work by Ebony G. Patterson and Maia Cruz Palileo with a NOVA booth at Art Basel Miami Beach. Ebony won the first Miami Beach Legacy Purchase Program by just three votes, which I attribute to my dad, half-brother, and sister in Canada. The work is now permanently installed at the Miami Beach Convention Center alongside Sanford Biggers who won the next year! That same year I stopped into the inaugural exhibition at the Ford Foundation Gallery in New York as Patterson would be featured in their second show and I needed to scope out the wall for her installation. My jaw dropped when 25

I saw a work by David Antonio Cruz with no gallery name on the courtesy line. I messaged him immediately and we met soon after for a studio visit inside the Brooklyn Museum’s After Stonewall exhibition, and had a long lunch talking about how our gallery has consistently worked with artists who also have a performance practice. We’ve since mounted three shows together, facilitated a gorgeous performance at the Poetry Foundation in Chicago, and he currently has a stunning solo exhibition at the Institute of Contemporary Art in San Francisco.

2020–2025: from the pandemic to the anniversary In March 2020, just days before lockdown, we opened a solo booth with Candida Alvarez at Independent in New York. Her first solo show with the gallery debuting her groundbreaking Air Paintings series had opened in February on the eve of Candida’s 65th birthday, and the response was immediate. That exhibition led to her inclusion in the Whitney Museum’s landmark exhibition, no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria, and ultimately, into their permanent collection. The Art Institute of Chicago, MCA Chicago, El Museo del Barrio, and Seattle Art Museum also acquired her work during the pandemic. Her major survey show was mounted this year at El Museo del Barrio with a glowing review in The New York Times and now she’s a finalist for a lifetime achievement for this exhibition by ARTnews. Nate Young was slated to open his fourth solo exhibition but we were on lockdown and working from home. Since Nate was local and the work was done, we decided to mount the show. Nate rented a truck and he, Evan, and I installed the show. A major component of the exhibition was motion sensor sculptures. Only a video could really capture the experience so we asked our longtime photographer Robert Chase Heishman to make one. How we had never thought to video our exhibitions before is mind blowing, and we now include a video walkthrough for every show. Robert and his business partner Robert Salazar now have a thriving art photography and video company called Bob. We were eventually allowed to open Nate’s show to the public for 2 weeks by appointment and the Chicago art world filled those 45 minutes slots immediately. I think we were the first Chicago gallery to reopen… Our young painter Jake Troyli was happily sequestered at the Fine Arts Work Center residency in Provincetown, which allowed their artists to blissfully stay through that first COVID summer. My in-person visit turned virtual and to my surprise Antonius-Tín Bui was also there. They were a finalist in 2019 for the National Portrait Gallery Outwin Boochever Competition along with David Antonio Cruz. I had travelled to support Cruz and noticed Antonius’ work but hadn’t yet 26

followed up on it. Thanks to another kismet moment, Antonius joined the gallery and had their first solo show in 2021. Their third solo show at the gallery is coming up in 2026 and David Antonio is again a finalist at NPG this year. If the government shutdown eventually ends, we will find out who wins! In 2021, we had our first solo show with Harlem-based David Shrobe. Evan and I had been following his work for several years on a tip from Ebony G. Patterson and Evan’s infamous art fair walks. We were struck by David’s keen sense of found objects and materials, pulling from place to create his incredible portraits. Always listen to your artists! On a trip to LA in 2022, we discovered Arvie Smith’s work on the walls of collector/filmmaker Michael Sherman (he produced Rashid Johnson’s Native Son film in which Evan has a cameo!) We called Arvie and immediately flew to Portland to visit his studio. After two days visiting him and his wonderful wife/studio manager Julie Kern Smith, we told him that we were going to change his life. Smith had been turned away from art school as a young man because he was Black. Seven decades later, he was awarded the Guggenheim Fellowship in Fine Arts. We presented his second solo exhibition with the gallery, Crossing Clear Creek, earlier this year. That body of work, his most autobiographical to date, revisits his migration from Jim Crow-era Texas to south central Los Angeles, channeling personal memory into allegorical compositions filled with symbolism, tension, and grace. At 87, Arvie is just hitting his stride. In early 2023, we debuted the work of Bahamian artist Lavar Munroe, who we first met almost 10 years earlier at Prospect.3 in New Orleans. We appreciated his practice, but there was an ominous undertone that kept us at bay. In 2022, he had a transformative residency in Zimbabwe that unlocked a more joyous and spiritual tone to the work yet still tinged with the right amount of looming sinister. He will represent The Bahamas at the Venice Biennale in 2026, only the second time The Bahamas will have a Pavillion. We discovered the work of Nigerian artist Luke Agada at the SAIC MFA show in May of 2023. Not only did Evan and I buy a work, but we knew if we didn’t act quickly another gallery would. We offered him a small viewing room show in September to coincide with our Sanford Biggers exhibition. Out of respect, I did ask Sanford to check out Luke’s work and give his blessing, to which he responded, “as long as you sell me a painting!” We just hosted Luke’s second solo show this fall to rave reviews and a growing wait list. Organizing 25! was a walk down memory lane. All of the current artists on our roster are represented by a mix of recent, historical, and newly commissioned works. Artists from our past like Carlos Rolón/Dzine and former collaborators Robert Davis and Michael Langlois who were included in our Homewrecker exhibition had to be included alongside Justin Cooper, Jason Middlebrook, and Carrie 27

Schneider who continue to thrive on the East coast. And in memoriam I wanted to honor the memory of Cindy Loehr. We would have included Amy Sherald with a painting from our personal collection, but it was on loan to the Whitney! I’m so incredibly proud that in and around our anniversary year so many of our artists are having career defining moments. Ebony G. Patterson is a recipient of the MacArthur Genius Grant and Arvie Smith is a 2024 Guggenheim Fellow. Rashid Johnson has a major solo show at the Guggenheim Museum NY, Candida Alvarez at El Museo del Barrio, Amy Sherald at the Whitney, and David Antonio Cruz at Institute of Contemporary Art San Francisco. We will have two artists at the Venice Biennale in 2026—Lavar Munroe representing The Bahamas and another artist we cannot name until the new year! We are fully committed to maintaining Chicago as our home base and excited to keep discovering new talent of all ages and help steward our current and future artists into the art historical cannon. The arts are vital to our culture and humanity and we need them now more than ever. Looking forward to the next 25! It’s been a time to reflect on how scrappy and young we were when we got into the game 25 years ago—and how many artists have shown with us since. Of course, we couldn’t include everyone in this exhibition, but I want to acknowledge them here by name: Luke Agada*, Nina Chanel Abney, Charlie Ahearn, Candida Alvarez*, Reed Anderson, asianpunkboy (Terence Koh), Arocha-Schraenen*, Hans Askheim & Irina Nissen Melsom, assume vivid astro focus, Joe Baldwin, Sadie Barnette, Kim Beck, Destiny Belgrave, Benjamin Zellmer Bellas, Tobias Bernstrup, Walead Beshty, Sanford Biggers*, Anna Bjerger, Jarvis Boyland, Layo Bright, Rashayla Marie Brown, Zoë Buckman, Antonius-Tín Bui*, Jessica Campbell, Lilli Carré, Kendell Carter, Nick Cave, John White Cerasulo, Wells Chandler, Zoë Charlton, SangAh Choi, Andy Coolquitt, Justin Cooper, William Cordova, Christopher Cozier, Ann Craven, Paula Crown, David Antonio Cruz*, Oscar Cueto, Ariel Dannielle, Laura Davis, Davis/Langlois, Abigail DeVille, Folkert de Jong, Fendry Ekel, Koichi Enomoto, Brock Enright, Ben Fain, Gabert Farrar, Brendan Fernandes*, Carlee Fernandez, Brian Finke, Genevieve Gaignard, Chitra Ganesh, Braxton Garneau, Maria Gaspar, Luis Gispert, Karolina Gnatowski (KT), James Gobel, Máximo González, Michelle Grabner, Dylan Graham, Dan Gunn*, Karl Haendel, Hassan Hajjaj, Chase Hall, Lane Hall/Lisa Moline, Matthew Higgs, Alexa Horochowski, Sheree Hovsepian*, Guy Hundere, Kenneth Tin-Kin Hung, Carol Jackson, February James, Rashid Johnson*, Cassandra C. Jones, Jesper Just, Kajahl, Izima Kaoru, Barbara Kasten, Caroline Kent, Yashua Klos, Nikki S. Lee, Laura Letinsky, Kate Levant, Zane Lewis, Lump Lipshitz, Cindy Loehr, Maya Mackrandilal, Iñigo Manglano-Ovalle, Kerry James Marshall, Jillian Mayer, Yvette Mayorga, Lilly McElroy, Helina Metaferia, Jason Middlebrook, Pedro Montilla, Katrina Moorhead, Shana Moulton, Dave Muller, Lavar Munroe*, Ben Murray*, Russell Nachman, Bianca Nemelc, New Catalogue, Heidi Norton, Nnenna Okore, Ruby Osorio, Maia Cruz 28

Palileo*, Nereida Patricia, Todd Pavlisko, Ebony G. Patterson*, Christopher Patch, Simon Periton, Sondra Perry, Jason Pickleman, Monika Plioplyte, Cheryl Pope*, Chuck Ramirez, Jennifer Reeder, Karen Reimer*, Carlos Rolón/Dzine, Aaron Romine, Joel Ross*, Kay Rosen, Alison Ruttan, Jacqueline Salloum, Carrie Schneider, Dread Scott, Larry Scott, Amy Sherald, David Shrobe*, Anna Shteynshleyger, Diane Simpson, Arvie Smith*, Nyugen E. Smith, Shinique Smith, Jeff Sonhouse, John Sparagana, Scott Stack, Kathia St. Hilaire, Mickalene Thomas, Hank Willis Thomas, Jake Troyli*, Type A, Rinus Van de Velde, Jessica Vaughn, Pedro Vélez, José Versoza, William Villalongo, Roberto Visani, Gabriel Vormstein, Nari Ward, Carrie Mae Weems, Wendy Red Star, Jeffrey Whetstone, Wayne White, Amanda Williams, Brittney Leeanne Williams, Pamela Wilson-Ryckman, Nate Young* (* = current roster)

Homewrecker, 2000

Joel Ross, I Borrowed My Mother's Bedroom, May 2001

Carla Arocha, Underground, September 2001

Rashid Johnson, The Rise and Fall of a Proper Negro, 2003

moniquemeloche Flash Art Magazine Advertisement, 2002

Monique in front of 951 W. Fulton Market

Tobias Bernstrup, In the Dead of Night, 2002

Tobias Bernstrup performing at Arena Gallery, Chicago, May 2001

Rashid Johnson, solo presentation (LISTE), 2004

Things Fall Apart, curated by Franklin Sirmans, 2005

Chronic, curated by Astrid Honold, 2007

Bring it On!, 2006 Bring it On!, 2006

Brian Finke, Untitled (Cheerleading #81), 2002

Justin Cooper, Middle Management, 2006

Opening reception celebration at Sprout Home for Rashid Johnson, The New Escapist Promised Land Garden and Recreation Center, 2008

Rashid Johnson, The New Escapist Promised Land Garden and Recreation Center, 2008

Monique and former Gallery Director Whitney Tassie

DISCO after party, CroBar, Miami, 2001

Carrie Schneider, Justin Cooper, Rashid Johnson, Monique Meloche, Moire Conroy, Sheree Hovsepian, Kendell Carter, at 11th Street Diner, Miami, 2008

Monique & Rashid Johnson in Magdeburg, Germany on the occasion of Rashid Johnson: Sharpening My Oyster Knife, Kunstmuseum Kloster, 2008

Rashid Johnson, The Brother with Knowledge of Other Planets, 2007

Monique & Evan in Magdeburg, Germany on the occasion of Rashid Johnson: Sharpening My Oyster Knife, Kunstmuseum Kloster, 2008

Ebony G. Patterson, Gully Godz in Conversations Revised I, II, and III, 2010

assume vivid astro focus, Butch Queen 5, 2010

Hank Willis Thomas, Black Power, 2008, presented for off the wall, 2014

assume vivid astro focus, Butch Queen 5, 2010

Kerry James Marshall, Black Night Falling: Black holes and constellations, 2012

Rashid Johnson, Remembering D.B. Cooper, 2013

Rashid Johnson, Chair #3 from Remembering D.B. Cooper, 2013

Sanford Biggers, Ago, 2013

Cheryl Pope, Just Yell, 2013

Cheryl Pope, Just Yell performance at The White House, 2015

Arocha-Schraenen, As If, 2010

Ben Murray, Centerville, 2014

Ebony G. Patterson, Invisible Presence: Bling Memories, UNTITLED Miami, 2014

Ebony G. Patterson and Monique at UNTITLED Miami, 2014

Ebony G. Patterson, ...until you see them..., 2013

Ebony G. Patterson, Dead Tree in a Forest, 2013

Nate Young, But Not Yet: In the Spirit of Linguistics, 2015

Nate Young and Monique in Torino, Italy for Artissima, 2015

Brendan Fernandes, Free Fall, 2017

Amy Sherald, A Wonderful Dream, 2016

Amy Sherald, moniquemeloche LES, 2017

moniquemeloche current gallery location, 451 N. Paulina St.

Sanford Biggers, New Work, 2018

Ebony G. Patterson, ...for those who bear/bare witness...,2018

Candida Alvarez, Estoy Bien, 2020

Maia Cruz Palileo, Days Later, Down River, 2023

David Antonio Cruz, come close, like before, 2024

Arvie Smith, Crossing Clear Creek, 2025

Luke Agada, To Translate is to Move Across, 2025

Top L-R clockwise: David Shrobe, Ascension (detail), 2021; David Antonio Cruz, nothatsummernight,theywashaway,theywashitallaway,away,theyalwaysgoaway (detail), 2021; Lavar Munroe, We People of Flesh and Blood (detail), 2023; Antonius Tín-Bui, I remember opening you into words, gently, with a single question (detail), 2021; Jake Troyli, Deposition in Burberry (detail), 2020;

Annual Art Basel Miami Beach dinner celebration, À la Folie Café, Miami, Florida, 2024

Summer 2025 Staff Retreat, Miller Beach, Indiana (Indiana Riviera!)

Art Basel Miami Beach 2025

Installation Installation Views Views 57

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Luke Agada Gardens (On these common grounds), 2025 oil on canvas 60 x 60 in 152.4 x 152.4 cm

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Candida Alvarez Walking in Blue, from Air Paintings (2017-2019), 2018 latex ink and enamel on PVC mesh with aluminum and wood 81 x 71 x 26 in 205.7 x 180.3 x 66.0 cm

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Arocha-Schraenen Dust Devil, 2025 mirrored plexiglass and stainless steel dimensions variable

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Sanford Biggers Dream Double, 2025 antique quilt 40 x 40 x 2 in 101.6 x 101.6 x 5.1 cm

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Antonius-Tín Bui With the breath of a body that watches your own, 2025 hand cut paper and acrylic airbrush 89 x 50 in 226.1 x 127 cm

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Justin Cooper Spreadsheet Study, 2016 pen, marker, colored pencil, graphite on paper 14 x 17 in 35.56 x 43.18 cm

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David Antonio Cruz don'twhispergentlythatyoucan'tforgetme, 2025 oil and flashe on wood panel 36 x 36 in 91.4 x 91.4 cm

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David Antonio Cruz comeclose,likebefore,sowecansitinsilenceandcloseoureyestothosewants, andmaybe,maybe,wecangetlostintheplacewherethebirdssleep,lostinthesummerheat., 2024 oil and acrylic on wood panel 48 x 60 x 2 in 152.4 x 121.9 x 5.1 cm

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Davis/Langlois Babylon, 2008 oil on canvas 84 x 129 in 213.36 x 327.66 cm

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Brendan Fernandes Free Fall: For Camera, 2019 single-channel video projection, stereo sound. 13 minutes 46 seconds dimensions variable Edition of 3 plus 2 artist’s proofs

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Brendan Fernandes Free Fall, 2016 49 hand-pulled crystal coat hangers, 5 coat racks dimensions variable

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Dan Gunn Tempest Scenery, 2023 acrylic, milk paint, light stable metalized acid dye, and water-based polyurethane on birch plywood and poplar, with nylon cord 69 x 125 x 3 in 175.3 x 317.5 x 7.6 cm

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Chase Hall O'Hare, 2020 arylic and coffee on cotton canvas 18 x 24 in 45.7 x 61.0 cm

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Sheree Hovsepian Tide, 2024 silver gelatin photograph, string, nails, glazed ceramic, velvet, walnut artist frame 21 x 17 x 3 1/2 in 53.3 x 43.2 x 8.9 cm

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Sheree Hovsepian Stylite, 2023 silver gelatin prints, ceramic, nails, velvet in walnut artist’s frame 25 1/2 x 21 1/2 x 3 1/2 in 64.8 x 54.6 x 8.9 cm

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Rashid Johnson Surrender Painting “Easy Going”, 2022 oil on linen 48 x 36 in 121.9 x 91.4 cm

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Rashid Johnson Self-portrait in homage to Barkley Hendricks, 2005 ink jet print on white PolyFilm, with Luster laminate archivally mounted on Sintra 74 x 56 in 187.96 x 142.24 cm

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Cindy Loehr Prayer Kneeler, 2000 steel frame, upholstered foam, adjustable arm rest 34 x 34 x 20 in 86.36 x 86.36 x 50.8 cm

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Jason Middlebrook White Lines #2, 2015 acrylic on maple 29 x 32 x 1 in 73.66 x 81.28 x 2.54 cm

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Jason Middlebrook Gold Cherry Gift, 2014 acrylic on cherry wood 21 1/2 x 24 in 54.61 x 60.96 cm

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Lavar Munroe She’s Royal, 2025 acrylic, airbrush, fringed newspaper, synthetic flowers, grandmother’s earrings, croca sack, and glitter on canvas 70 x 48 in 177.8 x 121.9 cm

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Ben Murray Mill and Crossing, 2024 oil and acrylic on evolon 74 x 55 in 188 x 139.7 cm

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Maia Cruz Palileo And the Fragrant Greenery, 2025 oil on linen 60 x 48 in 152.4 x 121.9 cm

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Maia Cruz Palileo Swimmer I & II, 2023 ceramic 5 x 7 x 3 1/2 in 12.7 x 17.8 x 8.9 cm 5 x 7 x 4 in 12.7 x 17.8 x 10.2 cm

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Maia Cruz Palileo Uncle Billy, 2023 ceramic 6 x 6 1/2 x 9 in 15.2 x 16.5 x 22.9 cm

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Maia Cruz Palileo Drummer, 2023 ceramic 6 x 6 x 5 1/2 in 15.2 x 15.2 x 14 in

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Ebony G. Patterson ...in loving memory...for those who bear/bare witness, 2018 hand-cut jacquard woven photo tapestry with embellishments, trim, pins, tassels, beads, glitter, appliqués, buttons, brooches, fabric, feathered butterflies and funerary wreath, on artist-designed fabric wallpaper 127 x 92 in 322.6 x 233.7 cm

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Cheryl Pope Three and Some, 2024 needle-punched wool roving on cashmere 62 1/4 x 72 1/4 in 158.1 x 183.5 cm

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Cheryl Pope WHEN I GET OUT, 2015 mixed media 96 x 72 in 243.84 x 182.88 cm

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Karen Reimer Geometry in Outer Space or Heaven #4, #2, #9, 2014 installation view collaged paper, graphite, fabric, gold leaf dimensions variable

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Karen Reimer Geometry in Outer Space or Heaven #19, #10, #20, 2014/15 installation view collaged paper, graphite, fabric, gold leaf dimensions variable

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Carlos Rolón Discovery in the New World (Bahamas), 2022 ink, oil paint and 24k gold leaf on canvas on wood mount 36 x 36 in 91.4 x 91.4 cm

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Joel Ross TORTURE SOUNDS INCREDIBLE, 2006 electronic LED sign 57 1/2 x 84 1/2 x 7 1/2 in 146.05 x 214.63 x 19.05 cm

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Carrie Schneider Burning House (September, night), 2010 c-print 41 x 51 in 104.1 x 129.5 cm

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David Shrobe Heroine, 2025 acrylic, charcoal, ink, painted canvas, linen antique wallpaper on canvas mounted on board, found food frame, and molding 41 x 32 x 2 in 104.1 x 81.3 x 5.1 cm

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Arvie Smith Hoo Doo Voo Doo Crazy Quilt, 2004 oil on canvas 68 x 61 1/2 in 172.7 x 156.2 cm

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Shinique Smith Portal, 2024 acrylic, ink, graphite, crayon, fabric and collage on canvas 72 x 60 x 2 in 182.9 x 152.4 x 5.1 cm

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Jake Troyli The Chorus, 2025 oil on canvas 32 x 60 in 81.3 x 152.4 cm

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Nate Young In Black Untime No. 19, 2025 graphite on panel and vellum, archival tape, and oak 22 x 35 in 55.9 x 88.9 cm

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Biographies Biographies 185

Luke Agada (b.1992, Lagos, Nigeria) explores globalization, migration, and postcolonial identity through surrealist paintings of fragmented figures and dreamlike spaces. His work reflects on the complexity of cultural dislocation, drawing inspiration from post-structuralist theory and thinkers like Homi Bhabha and Edward Said. Agada references Nigerian authors and histories, using disjointed temporality to challenge notions of realism and fixed identity. His layered compositions embody both the real and imagined, investigating how globalization shapes selfhood. Candida Alvarez’s practice (b.1955, Brooklyn, NY) centers on painting and drawing, beginning with personal photography and evolving through layered abstraction. Her works combine intuition, memory, and vibrant color, creating compositions that unfold between shape and line. Alvarez’s process is fluid and collage-like, turning everyday impressions into complex visual experiences. Her abstraction invites wonder, reflecting lived experience through a dynamic painterly language. Arocha–Schraenen (b.1961, Caracas, Venezuela; b.1971, Antwerp, Belgium) explore perception and abstraction through mirrored installations and optical compositions. Their collaborative practice investigates how images shift with movement and reflection, questioning what is seen and what is imagined. Arocha–Schraenen bridge modernist formalism and mimetic tradition, inviting viewers into fluid, ever-changing spatial experiences. Sanford Biggers' (b.1970, Los Angeles, CA) multimedia practice draws on American history, mythology, and Black cultural narratives. Using antique quilts—oftentimes linked to the Underground Railroad—as surfaces, he creates layered works that combine painting, drawing, and sculpture. Biggers challenges historical erasure, reanimating overlooked stories through material transformation. His practice spans 2D and 3D forms, offering a meditative yet urgent exploration of memory and resistance. Antonius-Tín Bui (they/them) (b.1992, Bronx, NY) uses hand-cut paper, performance, and sculpture to visualize queer, Vietnamese American identity. Their intricate, meditative works archive intergenerational memories and oral histories, confronting erasure and trauma. Through beauty and labor, Bui creates space for marginalized narratives, deconstructing the white canvas as a metaphor for reclaiming visibility. Their practice is both personal and communal, fostering refuge and resistance through artistic ritual. Justin Cooper (b.1976, Tulsa, OK) creates work that blurs the line between art and design, grounded in formalism and laced with deadpan wit. His practice spans sculpture, drawing, and language, using mundane materials to explore liminal spaces where meaning flickers and shifts. Fascinated by visual glitches and cognitive dissonance, Cooper’s work captures the energy of contradiction and play. David Antonio Cruz (b.1974, Philadelphia, PA) paints, sculpts, and performs to explore queerness and race, centering trans and gender-fluid communities of color. His vibrant portraits honor chosen family and communal bonds, depicting intimate gestures that celebrate identity and resilience. Cruz captures both individual likenesses and broader systems of care, transforming personal connections into political declarations. His work affirms queer life as monumental, vulnerable, and powerful. Davis/Langlois (b.1970, Norfolk, VA; b.1974, Worcester, MA.) have been collaborating since they met at the School of the Art Institute of Chicago in 1997. Though their output primarly consists of paintings, the pair also collaborates to create sculpture and large-scale installations.

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Brendan Fernandes (b.1979, Nairobi, Kenya) creates installation, video, and performance addressing migration, queer identity, and cultural hybridity. Drawing from his Kenyan Indian Canadian background, he blends dance, protest, and ritual to examine belonging and movement. Fernandes’ projects often involve collaboration and reinterpret traditional forms, from ballet to nightlife, as modes of resistance. His interdisciplinary works create communal spaces for visibility, agency, and solidarity. Dan Gunn (b.1980, Prairie Village, KS) examines Midwestern identity and myth through carved wood draperies, ceramics, and collage. His work engages craft traditions while challenging binaries of rural vs. urban, labor vs. art. Gunn uses landscape imagery and time-intensive processes to explore regional memory, often with humor and surrealism. By channeling the legacy of folk artists and artisans, he investigates how place shapes cultural identity. Chase Hall (b.1993, St. Paul, Minnesota) explores the intersections of personal and generational narratives through a practice that blends historical inquiry with intimate reflection. Rooted in autobiography and social critique, his paintings emerge from a dynamic process of planning and improvisation. Hall uses brewed coffee to pigment cotton supports, a material choice that reflects on histories of labor, trade, and exploitation. His work critiques systemic power while celebrating the vivid presence of Black life beyond stereotypes. By integrating hieroglyphic marks and gestural abstraction, Hall evokes natural cycles and collective memory, offering a layered meditation on identity, history, and the imaginative possibilities of painting. Sheree Hovsepian (b.1974, Isfahan, Iran) explores the tactile essence of photography, using analog methods, objects, and the body to create layered, sensory images. Hovsepian’s work, rooted in studio experimentation and darkroom technique, blends abstraction with personal gesture. Each composition reflects on perception, intimacy, and materiality. Rashid Johnson (b.1977, Chicago, IL) works across painting, sculpture, photography, and video to examine African American identity, mysticism, and cultural history. Drawing from personal experience and critical theory, he builds layered assemblages using materials such as shea butter, books, and vinyl. Johnson’s practice confronts racial narratives and creates new visual languages that reflect both personal and collective memory. Cindy Loehr/Cynthia Gray (b.1971, Cleveland, OH, died 2014) was an artist whose work incorporated installation, photography, and mixed-media projects. Loehr often attempted to undermine the hierarchy of emotions such as depression, despair, desire, happiness, hope, and contentment. She explored such emotions by making them center stage, which provided places for isolation and reflection, and uncovering the common qualities of personal desire. Jason Middlebrook's (b.1966, Jackson, MI) practice blurs the boundaries between painting and sculpture, merging geometric abstraction with organic materials to explore the complex relationship between nature and human intervention. Best known for his signature plank sculptures—slices of indigenous hardwoods painted with intricate, abstract patterns—Middlebrook transforms natural forms into meditations on environmental stewardship, aesthetic systems, and the legacy of modernist art. Lavar Munroe (b.1982, Nassau, Bahamas) explores folklore, fables, and postcolonial narratives through mixed media paintings, cardboard sculptures, and found objects. Drawing on his upbringing in The Bahamas and travels in Africa, Munroe crafts surreal, hybrid worlds where personal memory collides with myth. His vivid, tactile works speak to journey, escape, and the complexities of home and belonging.

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Ben Murray (b.1977, Ainsworth, IN) creates richly layered abstract paintings that explore memory, time, and personal history. Influenced by his return to Gary, Indiana, Murray reconstructs fleeting experiences and industrial landscapes into dynamic compositions. His work reflects on how memory shifts over time, using light, gesture, and color to evoke the atmospheric and ephemeral nature of perception. Maia Cruz Palileo (they/them) (b.1979, Chicago, IL) paints dreamlike scenes that navigate migration, memory, and the legacy of U.S.-Philippine relations. Inspired by their family’s oral history and archival images, Palileo reimagines and reclaims overlooked narratives, fusing with their research in Philippine archives. Their richly layered works blend imagination with historical references, challenging ethnographic imagery, and celebrating diasporic identity and storytelling. Ebony G. Patterson (b.1981, Kingston, Jamaica) creates lush, multilayered installations and textiles that explore visibility, race, class, and violence in postcolonial contexts. Her work uses opulence—sparkle, color, pattern—to seduce the viewer before confronting them with unsettling realities. Patterson elevates marginalized voices through beauty and symbolism, memorializing the unseen. Her dense compositions question how we look, what we see, and who remains invisible. Cheryl Pope (b.1980, Chicago, IL) is an interdisciplinary artist whose practice centers on listening and memory, engaging issues of race, gender, and identity. Her recent works draw from personal relationships and cinematic recollections, depicting tender, complex scenes of love and loss. With references to intimacy and absence, Pope creates emotionally charged works that explore the politics of presence. Karen Reimer (b.1958, Kansas) merges conceptual art with traditional craft in site-specific installations and textile-based works. Using embroidery, chance operations, and language, she challenges binaries between art and labor, form and function. Reimer’s practice repositions domestic materials within minimalist and conceptual frameworks, creating poetic tensions between structure and ornamentation. Carlos Rolón (b.1970, Chicago, IL) blends painting, sculpture, and found objects to explore how cultural histories shape public and private spaces. Rolón often draws from familial and urban environments, creating immersive installations that reflect on heritage and community. His practice celebrates cultural hybridity while questioning how personal identity is constructed within shared environments. Joel Ross (b. 1966, Port Arthur, TX) works with photography, text, and installation to explore narrative, belief, and American mythos. Raised in a religious and military household, Ross constructs evocative scenes and roadside-style signage that blur truth and fiction. His works investigate how stories shape identity and perception, offering poignant reflections on survival, place, and memory. Carrie Schneider (b.1979, Chicago, IL) works across performance, photography, and film to explore psychological states, personal relationships, and the boundaries of photographic representation. Often using her family and friends as subjects, Schneider’s imagery shifts between everyday moments and the surreal. Her practice probes the tension between the precision of the camera and its potential for abstraction, incorporating techniques that embrace disruption and chance. David Shrobe (b.1974, New York, NY) creates layered portraits and assemblages from reclaimed materials sourced in Harlem. Deconstructing furniture and textiles from familial spaces, Shrobe constructs supports for painting and collage that reflect on memory, identity, and history. His fragmented figures resist linear narratives, offering new ways of seeing the self through intimacy, reinvention, and material transformation.

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Arvie Smith (b.1938, Houston, TX) paints bold, expressive works that confront racial injustice and stereotypes with searing clarity and compassion. Drawing from memories of the Jim Crow South and African American history, Smith’s paintings expose violence while celebrating resilience. His richly symbolic compositions memorialize the oppressed and critique the legacies of systemic racism. Shinique Smith (b.1971, Baltimore, MD) is known for her vibrant fabric sculptures and abstract paintings that fuse calligraphy, collage, and personal ephemera. Drawing from a culturally rich upbringing, she transforms clothing and found materials into poetic reflections on memory, ritual, and identity. Her works—ranging from intimate bundles to monumental installations—balance chaos and precision, exploring the spiritual dimensions of everyday objects. Through gestures like breath and binding, Smith meditates on consumption, accumulation, and connection, proposing new worlds shaped by the personal and the collective histories embedded in the things we keep, discard, and reimagine. Jake Troyli (b.1990, Boston, MA) uses classical painting techniques to explore race, value, and spectacle through self-portraiture and satire. His works feature exaggerated avatars performing within theatrical, absurd environments, challenging commodification and representation. Blending art historical references with contemporary critique, Troyli constructs layered narratives that question identity, labor, and agency. Nate Young (b.1981, Phoenixville, PA) engages theological and racial themes through spare, symbolic works in drawing, sculpture, and installation. Using architectural elements and abstract visual language, Young strips away content to reveal universal signs—arrows, grids, voids—that suggest meaning without stating it. His quiet, conceptual practice examines belief systems, authority, and the material presence of absence.

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Monique Meloche is the founder of moniquemeloche, established in 2000 with a mission to champion diverse and conceptually rigorous contemporary art. Since opening its first permanent space in Chicago’s West Loop in 2001, the gallery has become internationally recognized for identifying and advancing artists early in their careers and forging lasting institutional connections. Originally from Windsor, Ontario, Canada, Meloche holds degrees in Art History from the University of Michigan and the School of the Art Institute of Chicago. Before founding the gallery, she held curatorial and directorial roles at the Museum of Contemporary Art Chicago, Rhona Hoffman Gallery, and Kavi Gupta Gallery. Over the past twenty-five years, Meloche has played a pivotal role in shaping Chicago’s cultural landscape and mentoring a generation of arts professionals, continuing to lead her gallery with a vision grounded in equity, discovery, and community.

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Franklin Sirmans is an American curator, writer, and museum director whose work bridges art, culture, and community. Before his appointment as Director of the Pérez Art Museum Miami in 2015, he served as Head of Contemporary Art at LACMA and Curator of Modern and Contemporary Art at the Menil Collection. Earlier in his career, he curated influential exhibitions such as Basquiat and the Bayou and One Planet Under a Groove: Contemporary Art and Hip Hop. Through his writing and curatorial leadership, Sirmans has been a vital advocate for artists and perspectives shaping the contemporary landscape.

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Exhibition Checklist

Luke Agada Gardens (On these common Grounds), 2025 oil on canvas 60 x 60 in 152.4 x 152.4 cm

Candida Alvarez Walking in Blue, from Air Paintings (2017-2019), 2018 latex ink and enamel on PVC mesh with aluminum and wood 81 x 71 x 26 in 205.7 x 180.3 x 66.0 cm

David Antonio Cruz don'twhispergentlythatyoucan'tforgetme, 2025 oil and flashe on wood panel 36 x 36 in 91.4 x 91.4 cm

Arocha-Schraenen Dust Devil, 2025 mirrored plexiglass and stainless steel dimensions variable

Davis/Langlois Babylon, 2008 oil on canvas 84 x 129 in 213.36 x 327.66 cm

Sanford Biggers Dream Double, 2025 antique quilt 40 x 40 x 2 in 101.6 x 101.6 x 5.1 cm

Brendan Fernandes Free Fall: For Camera, 2019 single-channel video projection, stereo sound 13 minutes 46 seconds dimensions variable edition of 3 plus 2 artist’s proofs

Antonius-Tín Bui With the breath of a body that watches your own, 2025 hand cut paper and acrylic airbrush 89 x 50 in 226.1 x 127 cm

Brendan Fernandes Free Fall, 2016 49 hand-pulled crystal coat hangers, 5 coat racks dimensions variable

Justin Cooper Spreadsheet Study, 2016 pen, marker, colored pencil, graphite on paper 14 x 17 in 35.56 x 43.18

Dan Gunn Tempest Scenery, 2023 acrylic, milk paint, light stable metalized acid dye, and water-based polyurethane on birch plywood and poplar, with nylon cord 69 x 125 x 3 in 175.3 x 317.5 x 7.6 cm 194

Chase Hall O’Hare, 2020 acrylic and coffee on cotton canvas 18 x 24 in 45.7 x 61 cm

Jason Middlebrook White Lines #2, 2015 acrylic on maple 29 x 32 x 1 in 73.66 x 81.28 x 2.54 cm Jason Middlebrook Gold Cherry Gift, 2014 acrylic on cherry wood 21 1/2 x 24 in 54.61 x 60.96 cm

Sheree Hovsepian Tide, 2024 silver gelatin photograph, string, nails, glazed ceramic, velvet, walnut artist frame 21 x 17 x 3 1/2 in 53.3 x 43.2 x 8.9 cm

Lavar Munroe She’s Royal, 2025 acrylic, airbrush, fringed newspaper, synthetic flowers, grandmother’s earrings, croca sack, and glitter on canvas 70 x 48 in 177.8 x 121.9 cm

Sheree Hovsepian Stylite, 2023 silver gelatin prints, ceramic, nails, velvet in walnut in artist’s frame 25 1/2 x 21 1/2 x 3 1/2 in 64.8 x 54.6 x 8.9 cm

Ben Murray Mill and Crossing, 2024 oil and acrylic on Evolon 74 x 55 in 188 x 139.7 cm

Rashid Johnson Surrender Painting “Easy Going”, 2022 oil on linen 48 x 36 in 121.9 x 91.4 cm

Maia Cruz Palileo And the Fragrant Greenery, 2025 oil on linen 60 x 48 in 152.4 x 121.9 cm

Rashid Johnson Self-portrait in homage to Barkley Hendricks, 2005 ink jet print on white PolyFilm, with Luster laminate archivally mounted on Sintra 74 x 56 in 187.96 x 142.24 cm

Maia Cruz Palileo Swimmer I & II, 2023 ceramic 5 x 7 x 3 1/2 in 12.7 x 17.8 x 8.9 cm

Cindy Loehr Prayer Kneeler, 2000 steel frame, upholstered foam, adjustable arm rest 34 x 34 x 20 in 86.36 x 86.36 x 50.8 cm

5 x 7 x 4 in 12.7 x 17.8 x 10.2 cm Maia Cruz Palileo Uncle Billy, 2023 ceramic 6 x 6 1/2 x 9 in 15.2 x 16.5 x 22.9 cm

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Maia Cruz Palileo Drummer, 2023 ceramic 6 x 6 x 5 1/2 in 15.2 x 15.2 x 14 cm

Karen Reimer Geometry in Outer Space or Heaven #20, 2015 collaged paper, graphite, fabric, gold leaf 24 3/4 x 29 1/4 in 62.9 x 74.3 cm

Karen Reimer Geometry in Outer Space or Heaven #4, 2014 collaged paper, farbic, gold leaf 24 3/4 x 29 1/4 in 62.9 x 74.3 cm Karen Reimer Geometry in Outer Space or Heaven #2, 2014 collaged paper, fabric, gold leaf 29 1/4 x 24 3/4 in 74.3 x 62.9 cm

Cheryl Pope Three and Some, 2024 needle-punched wool roving on cashmere 62 1/4 x 72 1/4 in 158.1 x 183.5 cm

Karen Reimer Geometry in Outer Space or Heaven #9, 2014 collaged paper, graphite, fabric, gold leaf 24 3/4 x 29 1/4 in 62.9 x 74.3 cm

Cheryl Pope WHEN I GET OUT, 2015 mixed media 96 x 72 in 243.84 x 182.88 cm

Carlos Rolón Discovery in the New World (Bahamas), 2022 ink, oil paint and 24k gold leaf on canvas on wood mount 36 x 36 in 91.4 91.4 cm

Karen Reimer Geometry in Outer Space or Heaven #19, 2015 collaged paper, graphite, fabric, gold leaf 26 x 41 1.4 in 66 x 104.8 cm

Joel Ross TORTURE SOUNDS INCREDIBLE, 2006 electronic LED sign 57 1/2 x 84 1/2 x 7 1/2 in 146.05 x 214.63 x 19.05 cm

Karen Reimer Geometry in Outer Space or Heaven #10, 2014 collaged paper, fabric, gold leaf 24 3/4 x 29 1/4 in 62.9 x 74.3 cm

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Carrie Schneider Burning House (September, night), 2010 c-print 41 x 51 in 104.1 x 129.5 cm

Nate Young In Black Untime No. 19, 2025 graphite on panel and vellum, archival tape, and oak 22 x 35 in 55.9 x 88.9 cm

David Shrobe Gesture of Faith, 2025 acrylic, charcoal, ink, painted canvas, suede, leather, faux leather, velour, and wool on canvas mounted on board, found wood frame, and chairs parts 40 x 26 x 3 in David Shrobe Heroine, 2025 acrylic, charcoal, ink, painted canvas, linen antique wallpaper on canvas mounted on board, found food frame, and molding 41 x 32 x 2 in 104.1 x 81.3 x 5.1 cm Arvie Smith Hoo Doo Voo Doo Crazy Quilt, 2004 oil on canvas 68 x 61 1/2 in 172.7 x 156.2 cm Shinique Smith Portal, 2024 acrylic, ink, graphite, crayon, fabric and collage on canvas 72 x 60 x 2 in 182.9 x 152.4 x 5.1 cm Jake Troyli The Chorus, 2025 oil on canvas 32 x 60 in 81.3 x 152.4 cm

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I would first like to thank Mrs. Diane Rose, my Advanced Placement Humanities teacher from my senior year at Brighton High School in Michigan, who introduced me to the history of art. A week spent in a darkened room with slides advancing from a carousel encouraged me to elect Art History 101 at the University of Michigan (UofM) where I had declared pre-law as my undergraduate major. My mother and father, Sandra Meloche Garbutt and Frank Meloche, who made UofM a possibility (with a great nudge from my late stepfather, Robert Garbutt who always believed in me) even when I switched my major! A special nod to UofM Professor Ward Bissell who cemented my love of Bernini during a semester abroad in Florence, Italy. Lynne Wynick and David Tuck of Wynick/ Tuck Gallery, Toronto, for giving me the opportunity to learn under Director Mary Antonakos after undergrad back in Canada. And Mary for introducing me to Lela Hersh, then Chief Registrar at the Museum of Contemporary Art Chicago (MCA) who first hired me while I was in grad school at The School of the Art Institute of Chicago (SAIC) and continues to be one of my biggest cheerleaders. Special shout out to Helyn Goldenberg, Helen Zell (then Fadim), Lynne Turner, and the late Donna Stone for always supporting me after I assisted with the MCA Benefit Auction in 1991. Curators Lynne Warren, Dominic Molon, and Staci Boris—our curatorial team behind Art in Chicago 1945–1995—for becoming lifelong friends (and to Staci: family, and the editor of all our publications). SAIC Professor James Elkins, for allowing me the opportunity to make art as an art historian to better understand mediums—and really wish this was still required curriculum for art history grad students. SAIC Professor Lisa Wainwright, for being an unwavering advocate of my scholarship, museum work, and gallery life. Professor Gillion Skellenger Carrera, for being a willing cohort in corralling students along the art-and-fashion path as we co-taught at SAIC. Rhona Hoffman, who took a chance by hiring a young, aspiring curator to be her gallery director—and, over the course of two years, gave me my PhD in “gallery life” and a lifelong mentorship and friendship. Artist Wesley Kimler, for asking me to produce a catalogue for him in the interim before opening my gallery, which boosted my confidence. Also, former MCA photographer Joe Ziolkowski, whose catalogue essay I wrote, for his ongoing support—and for our Chrismukah stockings knit by his late mother, which we’ll use forever, not to mention our 1999 wedding photos. The late Lewis Manilow, an amazing collector and founder of the MCA, for encouraging me to open my own gallery and showing up on opening night with checkbook in hand—and his amazing wife, Susan, for never failing to mention how much Lew appreciated and supported me. Former MCA colleague Rhonda Brown, for being there at Homewrecker opening night alongside my former roommate Laura Rossiter Spicer, making sure folks didn’t go into rooms they weren’t supposed to—and keeping it real. In loving memory of Cindy Loehr, Joe Baldwin, and Chuck Ramirez—artists we thought the world of—and Jason Pickelman, who designed our logo and much of Chicago’s art-world graphics. We miss you all. I don’t discover everything on my own and need to give special shout outs to Evan Boris for seeing Ebony G. Patterson’s work at The Stray Show at Art in Chicago in 2008 and suggesting we buy a piece. Coach Darryl Walker, for introducing us to Amy Sherald in the early 2010s—and the rest is history. And Dealer Taymour Grahne, for introducing us to Maia Cruz Palileo after another studio visit fell flat…

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Chicago is a special place where you feel supported. A special thank you to Tony Karman, for always being an advocate for our gallery and an early Gallery Weekend Chicago proponent, along with our inaugural host committee, Curt and Jennifer Conklin, Dirk Denison and David Salkin, Larry and Marilyn Fields, Ikram and Josh Goldman, Rachel and David Grund, Jack and Sandy Guthman, Brian Herbstritt, Scott Hunter and Richard Renfro, Susie Karkomi, Brad and Kim Keywell, Eric and Liz Lefkofsky, Susan and Lewis Manilow, Eric and Cheryl McKissack, Conor O'Neil, and Howard and Donna Stone. To the powerhouse Theaster Gates—not a gallery artist in our program, but always a supporter of MMG and our artists…can’t thank you enough. To the master himself Kerry James Marshall, for finally agreeing to do my On the Wall project in 2013 (after two years of persistent badgering). Rashid Johnson, for sticking with and supporting our program since the very beginning. What an epic career to help launch—and what an unbelievable success to witness. Andreas Waldburg Wolfegg, for leaving the most memorable voicemail after our Ebony G. Patterson coffin installation at Untitled Miami 2014, telling me I was a badass. I regret not archiving it, but I can’t express what a boost that message gave me during that crazy, noncommercial presentation. My best friends—Tara Heibel (owner, Sprout Home and Garden, Chicago), Carrie Secrist (Secrist | Beach Gallery, Chicago), Jodine Wilde (my Canadian sister-cousin, Calgary/Winnipeg), and Megan Riley (Megan Riley Projects)—a wonderful mix of free spirits trying to make the world a better place. Thank you for keeping me grounded (and well-cocktailed). None of this would have been possible without the brilliant staff and amazing interns— past and present—who helped shape the gallery, support our artists, and carry us through both the quiet stretches and the wild seasons. Apologies if we’ve left anyone out but appreciate you all!! Sarah Adler, Chandler Arthur, Aniko Berman, Lily Blaustein, Olive Brecht, Alyssa Brubaker, Lily Cooper, Caryn Coleman, Maria Chang, Julie DeMaio, Murphy Dunn, Marielle Epstein, Ariel Fang, Cara Feeney, Tim Fleming, Megan Foy, Allison Glenn, Michelle Goldberg, Tess Haratonik, Leigh Holmes, Stacie Johnson, Ruba Katrib, La Keisha Leek, Alison Kleiman, Whitney Mash Levin, Maya Mackrandilal, Julia Marks, Allison Moore, Raven Munsell, Brittany P. Newman, Taylor Payton, Lauren Payne, Emilie Plunkett, Bob Reinard, Emma Robbins, Rebecca Schlossberg, Christine Schulz, Jenny Shedor, Marissa Strassel, Keer Tanchak, Whitney Tassie, Gia Theodoropoulou, Patricia Treib, Kendra Wilkenson, Chloe Yin, and Ashley Wynn.

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And finally, I must acknowledge my husband, gallery partner, and love of my life for believing in me from day one and courageously supporting me both financially and emotionally through all the ups and downs of this wild 25-year ride. My ride or die Evan Boris is the backbone that makes this all work. And even though I said finally, it would be rude not to thank Prince and may his Purple Reign forever.

25! celebration, April 25, 2025, in the home of Monique Meloche and Evan Boris, where Homewrecker debuted. L-R: Ben Murray, Antonius-Tin Bui, Heidi Norton, Cheryl Pope, Jake Troyli, Evan Boris, Luke Agada, Lavar Munroe, Monique Meloche, Mike Langlois, Sheree Hovsepian, Karen Reimer, Dan Gunn.

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Monique Meloche Gallery is located at 451 N Paulina Street, Chicago, IL 60622 For additional info, visit moniquemeloche.com or email info@moniquemeloche.com

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