At 91 years old, Rhona Hoffman, a titan of the Chicago art world, has announced plans to close her namesake gallery at the end of May, marking the end of an era after 50 influential years in the contemporary art scene.
Known for her bluntness and clarity of conviction, Hoffman’s journey has been storied, having shaped the perceptions of both local and international art communities.
Reflecting on the trajectory of her career, Hoffman recalls a significant missed opportunity when she turned down Chicago artist Rashid Johnson, who sought to exhibit his work in her gallery.
“I was either busy or just stupid because I didn’t understand the work. Sometimes things happen, and you’re just not in the right place to do it,” she said, highlighting the common retrospective realization of artists and gallerists alike.
Johnson’s recent ascent—now dazzling at the Guggenheim Museum—has amplified Hoffman’s sentiment of nostalgia for missed chances during her career, although she admits she may not have made different choices, even now.
“He’s a lovely man,” she adds of Johnson, insisting that her lack of understanding of his work at the time should not diminish his talent.
As she prepares to close her gallery, Hoffman shared her concerns about the evolving landscape of the art market, particularly the steep costs associated with operating a physical space.
She remarked, “No one comes to the gallery anymore. The era when collectors and curators would stop by on Saturdays for a chat and a buy feels long over.”
Indeed, foot traffic has dwindled significantly, compounded by a global downturn in art sales amounting to 12% in 2024.
Hoffman also reflects on the challenges of aging, admitting that it has become an increasingly physical reality for her.
“This past year has been a physical awakening,” she notes, acknowledging the toll that time takes on one’s body.
Despite her sadness over the impending closure, Hoffman remains resolute in her decision.
She describes the mixture of emotions: “I feel really bizarrely sad, but I’m going to do it anyway.”
On a crisp spring afternoon in March, Hoffman sat in her gallery in a cobalt jacket, surrounded by decades of personal and professional history.
One notable piece on her walls features a poster for Gordon Matta-Clark’s 1978 installation, “Circus – The Caribbean Orange,” highlighting her deep appreciation for art that intertwines light and darkness.
Reflecting on Matta-Clark’s work, she remarked, “What Gordon was doing was taking the darkness out of something and creating light. And now I understand that that gesture can be translated into a vocabulary about freedom, about war, about anything where you might try to find lightness from darkness.”
This duality of emotion has characterized her affinity for art throughout her career.
As a Gemini, she has always embraced both sides of the artistic conversation; she appreciates works that balance formal structure with emotional resonance.
Her connections to iconic artists such as Sol LeWitt, whose work she first exhibited in 1977, have left an indelible mark on her career.
“There was a sense of humanism in his work. He described the world not pictorially but diagrammatically,” she reflects, reinforcing her belief that art can be both cerebral and emotive.
Another pivotal relationship came with photographer Cindy Sherman, whose “Untitled Film Stills” Hoffman first encountered when they were valued at just $100 each.
Recognizing Sherman’s unique exploration of womanhood and identity, Hoffman stated, “She was capturing the emotions of women. Not to feel sorry for women, but to explain them.”
In an intriguing contrast, she recounted her less favorable impression of Richard Prince, stating, “I turned down the Marlboro Man,” demonstrating her instinctual approach to curatorship and selection.
Throughout her career, Hoffman has been instrumental in establishing artists like LeWitt and Sherman, effectively shaping the narrative of contemporary art in Chicago.
Her legacy has been further solidified by the backing of significant private collectors like Stefan Edlis and Gael Neeson.
Their extensive holdings, which include Sherman’s work, led to transformative gifts to the Art Institute of Chicago, showcasing Hoffman’s role as a connector in the art ecosystem.
Among new talent, Hoffman discovered Nathaniel Mary Quinn’s work in his cramped New York studio in 2017, stating, “The interpretation of those faces, the angst behind the head—it was breathtaking.”
She immediately offered him an exhibition, an opportunity that has propelled Quinn into the sphere of elite galleries, including Gagosian.
Hoffman’s keen eye has not gone unnoticed in the art community, with peers recognizing her impact in nurturing talent that resonates beyond Chicago.
Monique Meloche, who previously served as Hoffman’s gallery director, remarked on the often-overlooked foundational work Hoffman has done in advancing artists like Kehinde Wiley.
“The big splash is when Kehinde has a show in New York, but Rhona was doing it first, which is pretty important,” Meloche explained, underscoring the significance of Hoffman’s early support for many now-established artists.
Artistic mentor Derrick Adams echoed this sentiment, highlighting the respect and credibility that come from having been associated with Hoffman.
“There’s a certain level of respect and consideration that you’re given if people know you got your start with Rhona. She’s that person,” Adams said, establishing the reverberating influence of Hoffman across generations of artists.
EXPO Chicago’s Tony Karman expressed that Hoffman’s departure signifies a substantial loss for the cultural landscape of the city.
“I don’t know how you replace a Rhona Hoffman. It leaves a huge hole in every way,” he stated, revealing a shared sense of loss among those who benefit from her contributions.
As her gallery winds down, Hoffman remains engaged with the art scene, mentioning her participation in EXPO and exploring pathways with organizations like Human Rights Watch.
She alludes to potential travel, especially to Africa, as she contemplates the next steps in her life.
“I don’t know what I want to be when I grow up, but I’m not done,” Hoffman muses, indicating her desire to continue impacting the art world one way or another.
Through her unwavering dedication and keen insight, Rhona Hoffman has been a lynchpin in the Chicago art community, and while she closes the chapter on her gallery, her legacy will undoubtedly endure in the connections she fostered and the talent she nurtured.
image source from：https://chicago.suntimes.com/art/2025/04/26/rhona-hoffman-contemporary-art-gallery-closing
