About the exhibition

Testaments to the Beautyful Ones brings together eight photographers and six writers to bear witness and pay tribute to the unflinching insistences on life on the African continent. Situated within the discursive tensions between the enduring postcolonial disappointments registered in Ayi Kwei Armah’s iconic 1968 novel The Beautyful Ones Are Not Yet Born and the assertive hopefulness of Njideka Akunyili Crosby’s series of photographic transfer-based paintings The Beautyful Ones, this exhibition foregrounds how communities are carving out spaces of quiet possibility for themselves within the constraints of everyday living, particularly on social media.

Photographs by Tatenda Chidora, Fatoumata Diabaté, Yagazie Emezi, Zana Masombuka, Hashim Nasr, Jean-Louis N’cho and Sarah Waiswa are presented in clusters, staging conversations about pressing concerns such as gender and sexuality; spirituality; war and displacement; self-representation; and people’s relationships to the natural world, to museum spaces, to the Covid pandemic, to waste and found objects, and to dreams. Newly commissioned texts in response to the clusters by Kweku Abimbola, TJ Benson, Safia Elhillo, Tsitsi Jaji, Cheswayo Mphanza and Ladan Osman further testify to these renewed manifestations of the “beautyful ones”, which Armah explains, as a misspelling of the praise name for the ancient Egyptian god Osiris that he saw painted on a minibus taxi in Accra, is paradoxically “a sorrowful reminder of our human vulnerability to division, fragmentation and degeneration, and at the same time a symbol of our equally human capacity for unity, cooperative action, and creative regeneration”.

Taken together then, the visual and written works in Testaments to the Beautyful Ones index the reverberations of social life and living in Africa today, on their own terms, in spite of it all.

Curated by Yuan-Chih (Sreddy) Yen

About the exhibition

The Prix Pictet is widely recognized as one of the world’s leading photography awards. Founded in 2008 by the Pictet Group, it seeks to harness the power of photography to draw global attention to critical sustainability issues. To date, the award has completed eleven cycles, each organized around a theme that highlights a distinct facet of sustainability. Storm is the theme of the eleventh cycle.

Storm is both a natural phenomenon and a metaphor for the unseen and relentless forces shaping the world today. As a theme, it speaks to the growing volatility of our age, encompassing environmental collapse, political upheaval, economic instability, and social unrest, situating us perpetually on the brink of crisis.

The theme challenges photographers to capture the raw energy and far-reaching consequences of these turbulent conditions. Whether addressing the devastation of climate disasters, experiences of displacement, or the simmering tensions within divided societies, Storm reveals not only disruption but also its generative force: the possibility of transformation, renewal, and hope that can emerge in its aftermath.

The twelve shortlisted artists are:

Takashi Arai (Japan/Germany)
Marina Caneve (Italy)
Tom Fecht (Germany/Italy)
Balazs Gardi (Hungary/USA)
Roberto Huarcaya (Peru)
Alfredo Jaar (Chile/USA)
Belal Khaled (Palestine)
Hannah Modigh (Sweden)
Baudouin Mouanda (Republic of the Congo)
Camille Seaman (Denmark/USA)
Laetitia Vançon (France)
Patrizia Zelano (Italy)

Alfredo Jaar was announced as the winner for his series The End, 2025

About the Exhibition

What if Emmett Till lived? What if he had returned home still a child, alive and free? If Emmett Till Lived… is an exhibition and a civic invitation. The very statement invites a range of questions, a reckoning with the past, and a probing investigation of the current state of American life. This exhibition, and the invitation it offers to viewers, creates a collective arena to consider how freedom has been secured on American ground.

In 1955, Emmett Till, then fourteen years old, had traveled from Chicago to the Mississippi Delta region to visit his family during the summer, bought candy at Bryant’s Grocery and Meat Market, and was accused of whistling at a shopkeeper, a white woman working in the store. The accusation violated the racial caste system of Jim Crow rule that kept the economic, civic, and social subordination of black Americans the law of the land. Days later, the woman’s husband, Roy Bryant, his brother-in-law John William (J.W.) Milam, and one other man kidnapped Till from the home of his great uncle Moses Wright near Money, Mississippi, and took him to a barn where they brutally tortured, mutilated, and killed him with the force of a mob lynching. Till’s body was thrown in the Tallahatchie River weighed down by a 75- pound cotton gin fan wrapped around his neck with barbed wire. The next month, Bryant and Milam were acquitted by a jury in Sumner, Mississippi. In January 1956, they confessed to the murder in Look magazine with pride. Till’s lynching was a warning: in Mississippi, Jim Crow rule would remain.

In 2017, the Till case was reopened by the Justice Department when new information emerged that the woman who had accused him of whistling at her had recanted. While her statement did not lead to any persecution after the FBI investigation—the statute of limitations had run out and perjury in a state court is not a federal crime—it did result in the Justice Department’s statement that “the government does not take the position that the state court testimony the woman gave in 1955 was truthful or accurate.” 

There were many Tills, yet his murder was the one made visible to all. “Let the world see what I’ve seen,” his mother, Mamie Till-Mobley said. Till-Mobley asked for an open casket funeral for her son in Chicago and 100,000 attended—the largest civil rights event and the most impactful for mass mobilization to date in the United States. 

Racism had been clear; Till’s death gave many new resolve coming as it did a year after the 1954 Brown v. Board of Education Supreme Court case that legally outlawed segregation. Till’s murder became the event that shook the consciousness of the nation enough to enforce it. 

“We were the Till generation,” Congressman John Lewis said, echoing the sentiments of many. When Rosa Parks explained why she refused to give up her seat in the front of the bus to a white customer, launching the Montgomery Bus Boycott, she said, “I thought of Emmett Till and I couldn’t go back.”

Picture it. What would it have required for Till to live? If Emmett Till Lived… honors Till and the history born of his sacrifice. The show—drawn entirely on work in the collection of the Museum of Contemporary Photography at Columbia College Chicago—imagines what could have come in his life: photographs of different restaurants pay homage to the last meal Till’s mother, Mamie Till-Mobley, packed for him before he left Chicago, others show his favorite pastimes, meditate on the love he might have experienced, on days spent enjoying life in Chicago, on the playground, at the beach, attending prom, living free. There are images of railway lines that mark his one-way trip from Illinois to Mississippi and the travels that might have one day taken him around the world. There are photographs of the full range of life events Till missed: from the Chicago Bulls as a cultural phenomenon to the love we imagine he might have known as he grew into a man, to the election of Barack Obama and the extended Civil Rights protest and movement today.    

The show deliberately draws upon the work of a vast array of photographers who emblematize the full range of American life including: Hanif Abdur-Rahim, Tom Arndt, Laylah Amatullah Barrayn, Uta Barth, Endia Beal, Dawoud Bey, Christian Boltanski, Keith Carter, Teju Cole, Henri Cartier-Bresson, Peter Cochrane, Barbara Crane, Paul D’Amato, Bruce Davidson, Paul Dahlquist, Jack Delano, Adam Ekberg, Elliott Erwitt, Terry Evans, Walker Evans, Adama Delphine Fawundu, Rachel Feirman, Scott Fortino, Lee Friedlander, Leonard Freed, Daniel Castro Garcia, Kris Graves, Guillaume Simoneau, Todd Hido, Earlie Hudnall, Jr., Janna Ireland, Dorothea Lange, An-My Lê, Danny Lyon, Sally Mann, Stephen Marc, Diana Matar, Robert Mapplethorpe, Martin Hyers + William Mebane, Julie Moos, Kurt Markus, Natasha Moustache, Arteh Odjidja, Gordon Parks, Alexis Peskine, David Plowden, Marc PoKempner, Sheila Pree Bright, Walker Rosenblum, Anastasia Samoylova, Jon Saudek, W. Stephen Saunders, Paul Mpagi Sepuya, Arthur Shay, Sara Shamsavari, Aaron Siskind, Victor Skrehneski, Alfred Stieglitz, Bob Thall, Ruth Thorne-Thomsen, Charles Traub, Jerry Uelsmann, Todd Webb, and Carrie Mae Weems. 

If Emmett Till Lived… is an exhibition that mounts a civic invitation through an online component of the show that allows viewers in Chicago and beyond to craft their own displays in response to three prompts: 

• How would you have hoped Till could have lived after 1955?
• What do you wish Till, and the many Tills, might have never had to experience? 
• What would that life have required of us all? How have we challenged the force of Jim Crow rule and its legacy today?

These invitations are crafted to consider the sacrifice of his life, and what it wrought, and what work remains.

-Sarah Lewis

An exhibition of works by Ralph Lemon based on sites connected with the Emmett Till story is currently on view at Paula Cooper Gallery, NY through April 11, 2026.

About the curator

Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She has authored and edited over 60 publications including The Unseen Truth: When Race Changed Sight in America, which won the American Book Award; the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery; and the award-winning volumes, Carrie Mae Weems and “Vision & Justice.” As founder of Vision & Justice, Lewis has organized landmark convenings and founded a Vision & Justice Book Series, launched in partnership with Aperture. Her writing has been published in the New Yorker, The New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from Vogue to The Boston Globe to The New York Times. Lewis’s influence resonates widely: a chapter on her life is included in Laura Lynne Jackson’s New York Times bestseller, Guided: The Secret Path to an Illuminated Life (2025) and her work has been highlighted in Brené Brown’s Strong Ground: The Lessons of Daring Leadership, the Tenacity of Paradox, and the Wisdom of the Human Spirit (2025).

About Vision & Justice

Vision & Justice, founded by Sarah Lewis, is an award-winning initiative that generates original research, curricula, and programs that reveal the foundational role of visual culture in America’s representational democracy.   

Through institutional collaborations, leadership convenings, publications, and public programs, Vision & Justice serves as an organizer, partner, and resource for today’s leaders—and those to come—in fostering representational excellence.

Support for this exhibition

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.

This exhibition and publication are partially supported with funding from the Wyeth Foundation for American Art.

MoCP acknowledges support from the Illinois Arts Council and is the recipient of a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events.

Generous support for this exhibition is provided by the David C. and Sarajean Ruttenberg Impact Fund for Photography, a museum endowment.

About the exhibition

This year, the Museum of Contemporary Photography turns 50 years old. Since opening in 1976 and initiating collecting in 1979, the MoCP has acquired over 18,000 objects by more than 2,000 artists, representing a broad scope of aesthetics, technologies, and processes. The variety of work collected has allowed the museum to engage in conversations across political, social, and cultural landscapes.

To celebrate this milestone, MoCP at Fifty examines the evolving practice of building a dynamic collection, presenting a range of rarely exhibited and newly acquired works. Together, these selections question and reflect on the role of cultural institutions in shaping the photographic canon. Each of the five galleries represent a decade of collecting, beginning with the most recent acquisitions (2016-2026) in the first gallery, then moving backwards through time.

Looking at MoCP’s collection decade by decade is as much an archive of history as it is of art. Collections are fluid, often evolving in ways that mirror the values and trends of society at large. The first decades are noticeably missing many women and artists of color, not because such artists were not making work at the time, but because cultural institutions had yet to fully consider the value of varied perspectives and forms of practice. 

Further, up until the early 2000s, MoCP almost exclusively collected American works made post-1959. Some exceptions were made for early 20th century luminaries like Dorothea Lange and Harry Callahan, but the collection’s early identity was largely centered around the re-definition of “contemporary” characterized by Robert Frank’s seminal photobook The Americans. Humanistic, narrative documentary and street photography are largely represented in the first two decades.

In the early 2000s, the decision was made to abandon the 1959, Frank-focused benchmark to allow the collection to reflect the museum’s international exhibition record. The collection took on a new, eclectic form, eventually inspiring the museum’s new mission “to promote a greater understanding and appreciation of the artistic, cultural and political implication of the image in our world today.” The later decades were collected with intention, not only of addressing gaps in representation, but to embrace conceptual works and works that push the boundary of what defines “photography,” in the process expanding, innovating, and redefining what a photography museum can offer the public.

MoCP at Fifty honors the museum’s ongoing dedication to collecting as a deliberate, mercurial, and educational process that contributes to keeping photography’s many narratives alive and in dialogue with the present.

Support for this exhibition

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.

The 2025–2026 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Phillip and Edith Leonian Foundation, Henry Nias Foundation, Pritzker Traubert Foundation, the Rowan Foundation, United States Artists, and Venable Foundation.

MoCP acknowledges support from the Illinois Arts Council and a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events.

This exhibition is generously supported through the David C. and Sarajean Ruttenberg Impact Fund for Photography.

About the Exhibition

Channeling: body ←Image→ viewer features works by eleven international artists who communicate through and with the body. The featured artists draw on diverse approaches and means to deliberately activate direct connections with the viewer. These articulations position the viewer to experience a heightened awareness of their self and body, and to explore how bodies channel and confront societal malaise, oppression, transition, and vulnerability. Varied gestures—crawling, lying, climbing, kneeling, pointing, running, walking backward—evoke memory, history, and rhetoric and call attention to the senses and physicality of skin, touch, voice, hearing, and sight.

Situating the body politic in history and as a counter to screen culture, the works in the exhibition remind us that we humans are both in, and of, the body. Channeling: body ←Image→ viewer includes photography, video, and installations that memorialize, witness, and bear tribute to our humanity. 

Curated by Joan Giroux (US) and Alice Maude-Roxby (UK), Channeling: body ←Image→ viewer includes works from the 1970s to the present by Laura Aguilar, Pia Arke, EJ Hill, Susan Hiller, Ketty La Rocca, Shari Rothfarb Mekonen, Gustav Metzger, Paulo Nazareth, Anna Oppermann, Gina Pane, and Bridget Smith.   

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, MoCP Museum Council, individuals, private and corporate foundations, and government grants.

The 2025-2026 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Henry Nias Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, The Rowan Foundation, Terra Foundation for American Art, and Venable Foundation.

This project is partially supported by a Faculty Development Grant from Columbia College Chicago. MoCP acknowledges support from the Illinois Arts Council.

About the Exhibition

Guest curated by Wendy Ewald, Susan Meiselas, and Laura Wexler, along with Kristin Taylor, MoCP Curator of Academic Programs and Collections

This exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled Collaboration: A Potential History of Photography. The book was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved. By sharing both artists’ statements and excerpts from interviews with people depicted in photographs, they question whether memories align: Did both sides remember the moment in the same way? How did the photographed feel about the photograph’s life after it circulated through art markets, print media, and online? And what role might the photograph have played in perpetuating harmful or liberatory narratives about specific histories, places, or individuals?

The works—both historical and contemporary—are presented in clusters focused on topics,  to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence. The exhibition will also feature a reflection space for the audience engagement, as part of the project’s ongoing effort to consider the history of photography as a living and evolving entity that is unfixed and expanding as we learn more about the people, communities, and histories that images depict.

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.

The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation. This exhibition is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events and 21c Museum Hotel, Chicago. MoCP acknowledges support from the Illinois Arts Council.

This project is generously supported through the David C. and Sarajean Ruttenberg Impact Fund for Photography and the Westridge Foundation. Curatorial support was provided by Judson Womack and Kyli Hawks.

About the Exhibition

For Shore|Lines, Chicago-based artist Regina Agu (b. Houston, Texas) presents a large-scale panoramic installation at the Museum of Contemporary Photography as part of an exploration of placemaking and community memory—tracing sites and legacies of historical Black North American migration through an expansive tradition of the panoramic form. This Joyce Foundation Award (2023) special project and collaboration, focuses on connecting the landscapes, materiality, and human histories of the Gulf South region to the Great Lakes.

Drawing on methods of field work and landscape photography, Shore|Lines examines waterways and natural environments as defining sites of Black life and belonging.

This investigation grounds itself in close conversation with Chicago-area land and Great Lakes region environmental advocates and ecologists of color—community historians and academics, members of sailing clubs, librarians, archivists, geographers, and families that live and work along these long-storied bodies of water. The exhibition includes an artist book” documentation that Agu refers to as a “field guide,” connecting her Midwest and Gulf South experiences of the landscapes.

Shore|Lines is proud to bring together discourses of Black geographies, landscape photography, and site-specific land histories, using the methodology of landscape panorama as a format for relating ideas and themes of Black cultural memory connected to place.

This project uniquely explores and documents a nuanced assemblage of sociocultural geographies and cultures that connect to the Great Migration of the 20th century, in a way that is rarely considered within the wider visual lore or heritage narrative of the Great Lakes.

Led by Asha Iman Veal, MoCP Associate Curator.

Exhibition on view January 23-May 17, 2025.

ARTIST BIO: Regina Agu (American, b. Houston) is a visual artist, writer, and researcher based in Chicago, IL. Agu was raised between the United States, the Republic of the Congo, Nigeria, South Africa, and Switzerland. Her interdisciplinary practice includes conceptual and material inquiries into memory, history, representation, and Black geographies. Her work has been exhibited at the New Orleans Museum of Art, New Museum, The Drawing Center, the High Line, Project Row Houses, FotoFest, the American University Museum at the Katzen Arts Center, among other venues. Agu is a 2023 Joyce Award winner with the Museum of Contemporary Photography at Columbia College Chicago. Agu has received an Artadia Houston award, grants from Houston Arts Alliance, The Idea Fund, a SEED grant from The Robert Rauschenberg Foundation, and the Center for Art and Social Engagement at the Kathrine G. McGovern College of the Arts and Project Row Houses fellowship at the University of Houston for her research project Friends of Emancipation Park. Agu holds a BS from Cornell University and an MFA from the School of the Art Institute of Chicago.

Shore|Lines is supported by the Joyce Foundation through the 2023 Joyce Awards to Regina Agu and MoCP along with support from the National Endowment for the Arts and by The Andy Warhol Foundation for the Visual Arts.

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.

The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation.

This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. MoCP acknowledges support from the Illinois Arts Council.

About the Exhibition

In 2023, high school seniors from Kenwood Academy, Lincoln Park High School, and Prosser Career Academy worked with social justice artist Tonika Lewis Johnson and teachers Todd Osborne, Sydney Walters, and Erin Jimenez, to create photographs and videos inspired by the Folded Map Project. This is a digital exhibition of their work.

An in-person exhibition of this work is also on view for the general public from January 20 – February 18, 2024 at the Columbia College Chicago Community Engagement Hub located on the first floor of 600 S. Michigan Ave. The gallery hours are Monday – Saturday, 10am – 4pm.

The exhibition is part of the Arts, Activism, Policy, Power program.

About the Exhibition

Nestled in a green space between Soldier Field and Lake Michigan, the often-forgotten Balbo Monument was gifted to the city of Chicago by Italian dictator Benito Mussolini to commemorate controversial air marshal Italo Balbo’s 1933 transatlantic flight from Italy to Chicago during the city’s World’s Fair. Prospetto a Mare is the latest chapter of Eritrea-born artist Dawit L. Petros’s long-term investigation of the impact of Italian colonialism and its subsequent imprint on the visual cultures, populations and built environments of Africa, Europe and North America. With particular attention to Chicago’s buried links to Italian colonialism, Petros probes the propaganda used to promote Italy’s colonial projects in Eritrea, Ethiopia, Somalia and Libya, and by extension, the newly formed Italian state; the (aerial) technologies used to dominate occupied countries and simultaneously extol the power of the occupiers; and the imperfect ways in which these histories are inscribed in public and private memory through monuments, storytelling, archives, and photography. By incisively deconstructing established narratives of culture, migration, and power, Prospetto a Mare reminds us that the tendrils of the past reach into the present, emphasizing that history remains unfixed and unfinished.

Curated by Karen Irvine, MoCP’s Chief Curator and Deputy Director.

Visual artist and researcher Dawit L. Petros is currently associate professor in the Department of Photography at the School of the Art Institute of Chicago. Petros completed the Whitney Independent Study Program, an MFA in visual art from the School of the Museum of Fine Arts at Tufts University, a BFA in photography from Concordia University, and a BA in history from the University of Saskatchewan. A recipient of awards including a Terra Foundation Research Fellowship, the Paul De Hueck and Norman Walford Career Achievement Award for Art Photography and a Fulbright Fellowship, Petros’s multidisciplinary work has been exhibited at Tate Modern, London; Studio Museum in Harlem, New York City; and the Bamako Biennale, Mali, among other venues.

Dawit L. Petros: Prospetto a Mare is part of Art Design Chicago, an initiative of the Terra Foundation for American Art exploring and elevating Chicago’s rich art and design histories and diverse creative communities, and is funded by the Terra Foundation for American Art and The Andy Warhol Foundation for the Visual Arts. The publication Prospetto a Mare (Mousse Publishing, Italy) is supported in part by the Art Gallery of Guelph.

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, the Museum Council, individuals, and private and corporate foundations. The 2024–2025 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Henry Nias Foundation, Phillip and Edith Leonian Foundation, and Pritzker Traubert Foundation. This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. MoCP acknowledges support from the Illinois Arts Council.

About the Exhibition

Captured Earth presents works by artists who create works in photography and installation that use elements from nature to explore place, ecology, and the material and mystical qualities of the land. Depictions range from site-specific performances, including Tarrah Krajnak’s documentations of her nature-centered rituals using rocks and plant material, and Alan Cohen’s walking meditations. Other artists use natural elements to create experimental process-based works, such as Jeremy Bolen’s prints produced from film developed in a polluted river or Barbara Crane’s photographic transfers of tree bark, leaves, and fungi she gathered at her Michigan cabin retreat. Others attempt to convey things so confounding that they cannot be contained in an image, such as Penelope Umbrico’s 8,146,774 Suns From Flickr (Partial) 9/10/10, that presents an assemblage of photographs of sunsets from one day found on a photo sharing website to underscore the universal human attraction to capture the sun’s essence. Collectively, the exhibition shows ways artists grapple with creating visual language to express their connection to the earth and its magnitude.

Featuring works by: Ana Teresa Barboza, Karl Blossfeldt, Jeremy Bolen, Alan Cohen, Antonia Contro with sound design Lou Mallozzi, Barbara Crane, Odette England, Whit Forrester, Bertha E. Jaques, Dakota Mace, Robert Mapplethorpe, Byung-Hun Min, Liza Nguyen, Tarrah Krajnak, Martha Madigan, John Opera, Eliot Porter, Meghann Riepenhoff, Rachel Sussman, and Penelope Umbrico.

Curated by Kristin Taylor, Curator of Academic Programs and Collections.

MoCP is supported by Columbia College Chicago, MoCP Advisory Board, the Museum Council, individuals, and private and corporate foundations. The 2023–2024 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Henry Nias Foundation, Phillip and Edith Leonian Foundation, and Pritzker Traubert Foundation. This project is partially supported by the Illinois Arts Council, a state agency, and a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events.