As summer embraces the city, Chicago continues to flourish as a hub for queer culture and activism. The vibrant atmosphere captures the heart of a community intertwined with resilience and creativity, particularly amid the shadows cast by the HIV/AIDS epidemic of the 1980s. Now, in 2025, the Museum of Contemporary Art Chicago (MCA) is honoring this legacy with its new exhibition, “City in a Garden: Queer Art and Activism in Chicago.”
The exhibition unfolds through five interconnected sections: “Garden,” “Club,” “Street,” “Theater,” and “Utopia.” The flow through these spaces offers a reflective journey, drawing parallels between the past struggles and the current experiences within the queer community. According to Jack Schneider, assistant curator of the exhibition, the title resonates with the city’s nickname, “urbs in horto,” or “city in a garden,” highlighting Chicago’s rich tradition of support for those who defy conventional norms.
Upon entering the MCA, visitors encounter local vendors and community engagement through the ongoing SOAR Farmers Market. The white-walled galleries, bathed in natural light, serve as a backdrop for a diverse array of artworks, including striking sculptures and prints, further enhancing the exhibition’s themes.
One of the standout pieces, Doug Ischar’s “Marginal Waters,” features photographs from 1985 that depict the now-demolished gay beach on the North Side Lakefront near Belmont Avenue. Ischar’s work serves as a poignant reminder of the community spaces that have been lost over the years, particularly as the beach was bulldozed in 2003, replaced by an AIDS Memorial in 2019. Ischar expressed urgency in capturing the essence of this location, fearing its historical significance might fade away like the individuals affected by AIDS.
The connections between past and present are palpable throughout the exhibition. Although the events of forty years ago remain vivid, Chicago’s role continues to evolve in the fight for queer rights. Institutions like the MCA are finally paying homage to this enduring legacy and the lives that contributed to it.
In a notable shift, “City in a Garden” uses the nightlife scene as a lens through which to explore liberation. Nick Cave’s dynamic “Soundsuit” stands as a testament to the celebration of diversity and self-expression, transcending gender, race, and class. As visitors enter the “Club” section, they encounter a sensory experience enriched by resonant audio and vivid artworks that encapsulate the intertwined experiences of joy, survival, and struggle.
Amina Ross’ eight-minute video piece, “Man’s Country,” invites viewers into a deconstructed representation of Chicago’s longest-running gay bathhouse, a space historically exclusive to men. The lively color palette in this section contrasts with artworks that address the darker undertones of community spaces, reflecting on the HIV/AIDS crisis and its impact on nightlife culture.
Patric McCoy’s works poignantly capture the complexities of identity and belonging within Chicago’s queer spaces. The Rialto Tap, a South Loop bar, emerges as both a known and clandestine venue for connection among Black men seeking one another. This intermingling of public and private lives represents the multifaceted nature of queer existence, recalling both vibrant celebrations and silent struggles.
Transitioning to the “Street” room, visitors find themselves surrounded by political artifacts that illustrate the power of resistance. A central display case showcases memorabilia from various Chicago-based advocacy groups, including ACT UP/Chicago. This collection offers a glimpse into the community’s response to governmental inaction and reinforces the necessity of activism in preserving queer rights.
Highlighting the cultural and political engagement of individuals, the exhibition features an installation of stills and video works from grassroots media initiatives. Similarly, Haha, a storefront converted into a hydroponic garden, underscores the importance of nourishing those affected by HIV in a community that continues to confront systemic challenges.
The latter sections, “Theater” and “Utopia,” radiate with love and hope. Video installations depicting queer intimacy and desire loom large, inviting reflection on connection amidst adversity. Edie Fake’s “Memory Palace” series offers imaginative possibilities for the future, seeking to draw inspiration from queer histories to envision a more stable existence for community organizations.
A striking two-story installation, “The Free Clinic for Gender Affirming Care,” stands as a beacon of possibility and transformation, symbolizing the aspirations of a community moving towards a more inclusive future. By reclaiming its revolutionary legacy, Chicago continues to honor its past while advocating for the rights of tomorrow.
In essence, “City in a Garden: Queer Art and Activism in Chicago” is not merely an exhibition; it’s a testament to the enduring spirit of the queer community. Through art, activism, and a shared history, Chicago stands as a city where diversity thrives, supporting all its inhabitants.
The exhibition invites every visitor, regardless of their background, to both celebrate and learn from the stories that have shaped this vibrant, complex community. As artists and activists work together to create a flourishing landscape, the exhibition reminds us that the garden continues to grow, nourished by the bravery and creativity of those who dare to imagine a brighter, more inclusive future.
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