All exhibitions take place at Sector 2337
unless otherwise noted.

Current Exhibition


February 16 - April 15, 2018

Solo Exhibition by Lou Mallozzi

The Green Lantern Press is pleased to present 1:1, a site-specific installation by Lou Mallozzi based on two 2005 excavations from Krems-Wachtberg, an archeological site near Vienna where the artist was in residence in 2015. The first excavation, dated to 25,000 BCE, features the oldest known burial of two infants in a single prepared grave. The second, from the same period, includes one of the oldest painted objects ever recovered, a piece of ivory with eleven stripes of red ochre. Though the find has unprecedented historical merit, Mallozzi’s initial response was emotional, triggered by the care taken for the twins’ burial. Out of this, Mallozzi began an investigation that framed the dig within a contemporary art context: How do archeologists exploit the slight horizontal differences between topological layers, and how does this horizontal difference become vertical as a dig deepens? What presence does red ochre add to the marking of history in dirt and fragments? How does forensic cataloging double museum cataloging?

For 1:1, Mallozzi explores this archeological and emotional material by continuing his work in site specific architectural and sonic installation. One half of the installation, Planks, floats eleven clear acrylic replicas of floorboards from Sector 2337’s main gallery over their doubles. Twins occupies the entire southeast wall of the gallery and consists of a pencil-line grid divided into eleven sets of twenty squares containing the fingerprints of eleven sets of twins from the Chicagoland area.

Presented alongside this show is an artist-made catalog, including original source materials from Mallozzi’s research, related images and artworks, and scholarly essays by Seth Kim-CohenSusy Bielak and Fred SchmalzBryan Markovitz, and Joseph Clayton Mills.

Lou Mallozzi (b. 1957) is an interdisciplinary artist whose work often focuses on sound, language, and acousmatics. During his more than three decades of interdisciplinary arts practice, he has performed, exhibited, and broadcast in a number of venues in the US and Europe, including the Museum of Contemporary Art Chicago, The Arts Club Chicago, The Renaissance Society, Randolph Street Gallery Chicago, Podewil Berlin, TUBE Audio Art Series Munich, Bayersicher Rundfunk Munich, New American Radio, Experimental Intermedia New York, Ausland Berlin, Radiorevolten Festival Halle, Constellation Chicago, and many others.


Immanentizing the Eschaton

February 16 - April 15, 2018

The Green Lantern Press is pleased to present Immanentizing the Eschaton a site-specific installation by Manal Kara at the Shoebox Gallery.

Manal Kara’s assemblage combines inlaid and laser cut acrylic and wood to create a multilayered, heterogeneous composition. Using semiotic techniques, Immanentizing the Eschaton presents myths and theories about the universe’s creation and its foreshadowed demise. From a feminist angle, Kara looks to Slavic mythologies like Baba Yaga, mystical philosophies about repositories of information such as the Akashic record, and the study of plant organisms to deanthropocentrize common understandings of what constitutes a world. Kara brings together this constellation of research to point at how mythologies can be intrinsically misogynistic and how certain philosophies repeatedly position human provenance at the center of existence, hindered by their built-in perceptual apparatus.

About the Artist:

Manal Kara (b. 1986) is a Moroccan-American self-taught artist. They have exhibited work both nationally and internationally and are based in Gary, IN.

About Shoebox Gallery:

The Shoebox Gallery is an experimental micro gallery nestled in The Green Lantern Press storefront at Sector 2337 (2337 N Milwaukee Avenue). Highly visible to pedestrians and initially built as a restaurant’s menu box, the exhibition space lends itself to small-scale, experimental projects meant to engage diverse audiences.  


Upcoming Exhibitions

There are no upcoming exhibitions at this time.

There are no upcoming exhibitions at this time.

Past Exhibitions

Coming of Age

September 9, 2017 - November 19, 2017

Rebecca Beachy, Rhonda Holberton, Essi Kausalainen, Takahiro Iwasaki, Aki Inomata, Ebony G. Patterson, and Tsherin Sherpa. Curated by Caroline Picard

The libidinal flux of the teenager has left a permanent mark on culture, normalizing radical consumption in service of an endless will to change. With the end of earth’s resources in sight, this paradigm needs revision. Presented by The Green Lantern Press, Coming of Age presents the work of seven artists from different parts of the world that subvert our material and cultural landscape with meditative gestures.

“Many of the works in the exhibition are pictorially and sculpturally built environments, familiar, but physically uninhabitable by human life. Coming of Age is an unexpectedly utopian exhibition, in which humanity is primarily represented through celebrations, mimesis, and built environments.” — Max Guy, Chicago Artist Writers



New Demands?

April 20, 2017 - June 10, 2017

Project Space installation by Lisa Vinebaum

New Demands? features new neon works and a site-specific, cut-vinyl window installation exploring historical and contemporary modes of collectivity and collective organizing for better working and living conditions. Emphasizing text, typography and the adaptation of historical protest slogans, the exhibit connects past and present demands for economic, social, and racial justice.


This Land Again

April 20, 2017 - June 10, 2017

Solo exhibition by Lindsey Dorr-Niro

With the backside of a billboard as her starting point, Dorr-Niro interrogates the global epidemic of distracted materialism through a set of architectural interventions. These include: a floor sculpture/stage in the gallery’s center that shifts its configuration according to the needs of public programs, a site-specific screen that amplifies and undermines Sector’s storefront window, and the gallery’s adjacent hallway is additionally activated as a site of transition. The resulting environment seeks to prompt inquiry and agency among viewers and participants to ask: What does it mean to take ownership of experience within America’s 21st-century landscape of late-capitalism? What and where is “freedom”? If freedom is possible, how does it locate human dignity and citizenship on this land? Dorr-Niro’s installation is an adaptable backdrop for programs and interventions in Sector 2337’s main space that explore truth and authenticity within today’s sociopolitical environment.



February 10, 2017 - April 2, 2017

Project Space installation by Danny Giles

During his January 2017 artist residency at Sector 2337, Danny Giles will incubate new works that explore everyday things whose implications for identity and political resistance are activated through spectacles of memory and provide allegories for transgression and self-determination. Thereafter, Giles will present new works in Sector 2337’s project in a solo exhibition titled “Remembrancer.”



February 10, 2017 - April 2, 2017

Solo exhibition by Edra Soto

GRAFT is an interactive exhibition for which the artist Edra Soto installs life-size Puerto Rican style bus stop benches inside of the Sector 2337 gallery, with the island’s traditional rejas on the exterior storefront. 

The first iteration of this exhibition took place at Cuchifritos Gallery in New York (Spring, 2016). It is accompanied by a two-part tabloid-style with bilingual contributions from Dorothy Bell Ferrer, Cristina Correa, Christopher Cozier, Rafael Franco, Alison Fraunhar, Jefferson Godard, Daniel Hojnacki, J. Anna Looney, Anansi kNOwBody, Jesus Mejia, Daniel R. Quiles, Xuxa Rodriguez, Teresa Silva, Albert Stabler, Andy Sullivan, and Carolyn Supinka.

GRAFT is produced with support from the Efroymson Family Fund and The Green Lantern Press.


Institutional Garbage

September 1, 2016 - December 31, 2016

Alberto Aguilar, Brit Barton, Mara Baker, Kevin Blake, Zippora Elders, Rami George, David Hall, Kuras and MacKenzie, Josh Rios and Anthony Romero, Michal Samana, Naqeeb Stevens, Tina Tahir, Anna Martine Whitehead; writers: Lise Haller Baggesen, Daniel Borzutzky, Isaiah Dufort, Patrick Durgin, Tricia Van Eck, Jane Lewty, Jill Magi, Nam Chi Nguyễn, Rowland Saifi, Suzanne Scanlon, Mia You and Maarten van der Graaf with Fiep van Bodegom and Obe Alkema; & curators: David Ayala-Alfonso, Britton Bertran, Rashayla Marie Brown, Every house has a door, Lucia Fabio, João Florêncio, Stevie Greco, Jeanine Hofland, Renan Laru-an, La Keisha Leek, Sofia Lemos and Vincent van Velsen. Online Exhibition Design: Pouya Ahmadi. Curated by Caroline Picard and Lara Schoorl

Institutional Garbage is an online exhibition that presents the administrative residue of imaginary public institutions produced by artists, writers, and curators. This residue includes but is not limited to contracts, email correspondences, documented unproductivity, syllabi, scanned objects, and obstacle courses; collecting such fragments in one place, Institutional Garbage illustrates the backend activities of imaginary bureaucracies in an effort to trace the private life of institutional endeavors. What comes to the fore is not a cohesive, singular agenda, but instead a cross-section of often misfired objects that, once assembled, try to tease out new strategies for community arts production, education, sustainability, and value assessment.

Presented by The Green Lantern Press + The Hyde Park Art Center.


Poets Theater Reading Room

December 7, 2016 - December 10, 2016

In tandem with the Second Annual Festival of Poets Theater, Sector 2337 Project Space offers books, programs, audio and visual recordings connected to Poets Theater–featuring Signals Through the Flames: The Story of the Living Theatre (1984) by Sheldon Rochlin and Maxine Harris. The Second Annual Festival of Poets Theater presents performances, screenings and readings over four nights, plus an afternoon of talks on the genre at Sector 2337 and Links Hall. Curated by Patrick Durgin

Thanks to Canarium Books, kenning editions, Flood Editions, The Living Theater.


New Age Now: Art Auction

November 2, 2016 - December 2, 2016

The Green Lartern Press 2016 Fundraiser

Claire Ashley, Rebecca Beachy, Rami George, Sofia Leiby, Heather Mekkelson,Michael Milano, Aay Preston-Myint, Mitsu Salmon, Edra Soto, Hui-min Tsen, Andrew Yang, and Philip von Zweck.

Toying with the intersection of 18th c. Spiritualism and 60s psychedelia, NEW AGE NOW: Art Auction features the works of twelve artists and artworks that use beeswax, photography, spray paint, silkscreen, a salad bowl, mud, terrycloth towel, plastic, indigo dye, duct tape, and birdsnest. Within this alchemical field of materials, we look for the future ad hoc: How can artistic experimentation articulate strategies for collective and long term sustainability?

This auction/exhibition is further contextualized by a Transcendental Menu with finger foods specifically prepared for the occasion by artists Brandon Alvendia, Jessica Campbell, Rebecca Mir Grady, Kiam Marcelo Junio, Alyssa Martinez, Eric May, Midnight Kitchen Projects, Kathleen Rooney, and Edra Soto.


A Rule By Nobody

September 9, 2016 - November 20, 2016

Naama Arad, Samuel Levi Jones, Hai Knafo, Andrew Norman Wilson, Stephen Kwok, Kelly Lloyd, Christopher Meerdo, and Globe Al Chemical Company. Curated by Third Object, Fall 2016 Curatorial Residents at the Sector Project Space.

A Rule By Nobody is an exploration of the boredoms, frustrations and pleasures of bureaucratic routines. Drawing its title from Hannah Arendt’s definition of bureaucracy, the exhibition takes the bored energy of office labor and channels it into a multipart dive into the sublimely overflowing inbox, the inky warm Xerox room, the balled up wads of red tape, and the moments of escape that punctuate the droning beige sameness of nine to five.

The show is composed of a two-part group exhibition in Sector 2337’s rear project space, a video screening, a live performance, and a printed publication.


Styles of Radical Will (Italian Sculpture)

September 9, 2016 - November 20, 2016

Solo exhibition by Stephen Lapthisophon

Styles of Radical Will (Italian Sculpture) mixes sculpture, wall drawing, found objects, text, photography, works on paper, and fabric to address issues of time and duration. Works prepared in both the artist’s studio and created onsite in the gallery space make reference to artistic precedents in Italian art from the mid 20th c. such as Piero Manzoni, Jannis Kounellis, Giovanni Anselmo and Giuseppe Penone. This show extends Toccare (Non) Toccare, a body of work Lapthisophon presented for a 2016 project at the Nasher Sculpture Center­. Texts will be drawn from an artist book produced in conjunction with the Nasher project, Notebook 1967-68, incorporating the work of Italian poet Giacomo Leopardi.


Copy Drawings

March 25, 2016 - March 25, 2016

Solo exhibition by Magalie Guérin

With 100+ drawn reproductions of the artist’s prior works, Copy Drawings, examines the process by which one reconsiders and recreates the past, posing questions about what is and is not original.

Copy Drawings is organized in conjunction with the publication of Guérin’s first book, NOTES ON (The Green Lantern Press, 2016).


The Sea is Represented by an Irregular Shape

October 6, 2016 - March 13, 2016

An opera by Mark Booth

Mark Booth’s evolving project The Sea is Represented by an Irregular Shape was an on-going month long production with focused occurrences of the work happening every Saturday in February 2016 at 2:30. The basis of Booth’s opera is an unfolding chain of metaphors that slowly describe a world of surprising, yet effortlessly entangled images. The intuitive resonance of each juxtaposition—how the sea could be represented by space, and space represented by carbonated water—manifests throughout the month-long performance as sound, written text, and paintings. These multivalent metaphors strike the audience as a tangent strikes a parabola; as the constantly changing performers read their way through the metaphors the supreme stillness of Booth’s formal decisions highlight the work’s strangely conscious inward movement. Cosmic in scope and stoic in its ethics, The Sea is Represented by an Irregular Shapeis an opera for our ecological age.


Bleeding Black Noise

February 12, 2016 - March 11, 2016

Gast Bouschet & Nadine Hilbert (Brussels, Belgium), Faith Coloccia (Seattle, US), Niels Geybels (Antwerpen, Belgium), Alessandro Keegan (New York City), Max Kuiper(Arnhem, Netherlands), and Michaël Sellam (Paris, France). Curated by Amelia Ishmael in the Sector Project Space.

Bleeding Black Noise is a revision of Steven Parrino’s statement “My relation between Rock and visual art: I will bleed for you.” Here the curator replaces Rock with Noise, and celebrates the Bleeding as a release of the Black Noise, raw energy and formless potential. The collected works on paper of seven artists provide encounters with dust, electromagnetism, sympathetic magic, ecology, politics, and a passion for storms. Each of the artists are involved in experimental music—as active musicians or collaborators.


The Lichen Museum: Institution in Residence

October 9, 2015 - November 21, 2015

Installation by A. Laurie Palmer

During Sector 2337’s group exhibition, Imperceptibly and Slowly Opening (organized by The Green Lantern Press), A. Laurie Palmer will install her Lichen Museum in Sector 2337’s project space. The activities of the Lichen Museum include, among other things, a screening of lichen and lichenologists, guided lichen walks on October 10th, and a window installation.


Imperceptibly and Slowly Opening

October 9, 2015 - November 21, 2015

Sebastian Alvarez, Srijon Chowdhury, Katy Cowan, Zoe Crosher, Lindsey French, Essi Kausalainen, Deanna Ledezma, Wilfredo Prieto, Steve Ruiz, John Steck Jr., Linda Tegg, and Andrew Yang; a night of performances by Katherine Behar and Joshua Kent (curated by Every house has a door); and The Lichen Museum, an Institution in Residence, by A. Laurie Palmer. Curated by Caroline Picard

Responding to a new field of critical thought, Imperceptibly and Slowly Opening uses the group exhibition format to explore the strangeness of plants and algae, and how they trouble human structures. Vegetal life forms are banal in their ubiquity. Undeniably alive, yet silent, they creep upwards, their roots submerged and out of human sight. Like anarchists protesting order, weeds break through concrete. Plants challenge theoretical logic as well; they can be both one and many: Aspen trees growing on a hillside share a single root system. Plants have occupations and desires: engaged in constant growth, they spread out with a will to consume and occupy space.



August 22, 2015 - September 30, 2015

A window installation by Esau McGhee.

Visible from the street, Blackitolism teases late night pedestrians with a-typical advertisement. Part concrete poem, part neon sculpture, part print edition, McGhee’s work toys with the power of suggestion and the idiosyncrasy of desire.

Produced in tandem with the Terrain Bienniale.


Tertiary Dimensions

September 4, 2015 - September 19, 2015

Aay Preston-Myint, Adam Liam Rose + Alex Zak, Amina Ross, Betsy Odom, Elijah Burgher, Gordon Hall, Katie Vota, Kiam Marcelo Junio, Margaret Bobo Dancy, Matt Morris, Oli Rodriguez, and Rami George. Curated by Alexandria Eregbu

This exhibition unveils the artists’ sensitivity to space and how such material practices propose an alternative, non-binary platforms for the queer and/or collective body. This platform becomes a meaningful tool against oppressive structures which limit pleasure, desire, visibility, and mobility. Here, we might further examine how these artists consider the queer body in space amongst the domestic, the architectural, the landscape, public or private sectors— and how the collision between such domains might summon, conjure, or propose a third space.

The exhibition organized as part of Platforms: 10 Years of Chances Dances — a multi-site series of exhibitions and events in celebration of 10 years of  Chicago-based queer collective, Chances Dances.



May 9, 2015 - July 3, 2015

Solo exhibition by Ellen Rothenberg

elsetime examines the difficulty of artistic lineage exploring history’s dislocated presence. Central to Rothenberg’s artistic retcon is the image of her walking in the study of Bertolt Brecht. How can plans for a future protest affect the furniture of the past? Rothenberg expands from there, refracting through additionally (and personally) significant figures like Stefan Brecht and Simone Forti, along with temporally specific locales like post-war Berlin, Woodstock, and downtown New York; layering these sites and personae, Rothenberg traces a range of influences through objects and sometimes ambiguous politics. elsetime is the material culmination of the artist negotiating, inserting, and revising past and future selves in the present now.

“Anyone prepared to spend time with the work will be rewarded, not with answers, but with a deepened appreciation of how unnecessary such summaries are.”
—Artslant:  May 27, 2015, “The Personal Is Political: Ellen Rothenberg at Sector 2337″ by James Pepper Kelley

“Elsetime” is an operation in ways to proceed forward, a challenging exhibition that provides rewards if you want them.”
—Newcity Art:  June 13, 2015, RECOMMENDED: Ellen Rothenberg at Sector 2337 by Chris Reeves


Everything is Still Really Interesting

February 12, 2015 - April 12, 2015

Exhibition by Kuras & MacKenzie

Everything Is Still Really Interesting, the latest exhibition by collaborative duo Kuras & MacKenzie. The title of the exhibition hints at a moment in time — “still” suggests something that has passed, but hasn’t yet entirely disappeared. What is it that persists? A remnant, a feeling, an after taste. A naive interest in the world, perhaps, it persists as some vague but committed idealism — whether authentic or the product of Romantic thinking, the artists do not differentiate. Either way, any residual “naiveté” is complicated. Everything Is Still Really Interesting muddles through the oppositional poles of lofty hope and hard-won cynicism, leaving the art object to mark moments in an ongoing conversation.


The New [New] Corpse

October 16, 2014 - December 11, 2014

Benjamin L. Aman & Marion Auburtin, Joseph Grigely, Young Joon Kwak, Jason Lazarus, Carlos Martiel, Heather Mekkelson, Aay Preston-Myint, Rachel Niffenegger, Xaviera Simmons, Shane Ward, and Shoshanna Weinberger; with Jane Jerardi as our November 2014 Studio Resident.

An affiliated exhibition catalogue includes written contributions from Antibody Corporation, Rebecca Beachy, Érik Bullot, Judith Goldman, Julia Drescher, Every house has a door (Matthew Goulish & Lin Hixson), Christy LeMaster, Valeria Luiselli, Jesse Malmed, CJ Martin, Nathanaël, Caroline Picard, Martine Syms, John Tipton, Zoe Todd, and Fo Wilson.

The New [New] Corpse is a group show with thirteen artists whose work in photography, sculpture, performance, film, and drawing wrestles with representation to show how the figure appears fragmented, distorted, or emphatically absent. These artists exhume the human body to study the material networks by which it is comprised. The New [New] Corpse is The Green Lantern Press inaugural exhibition at Sector 2337.


Jane Jerardi: Artist-in-Residence

November 7, 2014 - December 6, 2014

Jane Jerardi is a time-based artist working in the media of choreography, performance, and video. She has created work for a variety of contexts — from theaters and galleries to record store listening booths, public subway escalators, audio walks, and projected videos — constructing pieces that often move fluidly between media.


Isolated Fictions: A Reenactment

August 24, 2014 - November 23, 2014

At Hyde Park Art Center

Amanda Browder, Nick Butcher, Maria Dumlao, Jason Dunda, Rebecca Mir Grady, Nadine Nakanishi, Carmen Price, Steve Ruiz, and Hui-min Tsen. Curated by Caroline Picard

In June 2014, The Green Lantern was invited by a group of Rhode Island School of Design students to reproduce one of The Green Lantern’s past exhibition in response to the Hyde Park Art Center’s Chicago Effect: Redefining the Middle. The resulting choice, Isolated Fictions, explores a curious incident in history when a fleet of English sailors found themselves icebound in the Arctic for nine months. In order to survive, they put on weekly plays and published a newspaper of theater reviews, inside jokes, poems and classified ads. The resulting periodical, The North Georgia Gazette, presents the sailors as an older, idiosyncratic DIY art collective whose activities arguably sustained the crew through a physically, and psychologically inhospitable environment.

“Exemplary of [The Chicago Effect: Redefining the Middle’s] strengths is a brief interlude in the middle of the main gallery marked by a stripe of grey paint that hangs on the walls and floor between two halves of the white cube… Isolated Fictions: A Reenactment, as the sub-show is titled, presents a provocative case study in the generative possibilities between art schools, small galleries, art centers, and other ‘middle men’ of the art economy.” — Elliot Reichert, Chicago Artist Writers.


Ghost Nature

January 9, 2014 - April 19, 2014

At La Box ENSA (Bourges, FR) and Gallery 400 (Chicago, US)

Sebastian Alvarez, Art Orienté objet (Marion Laval-Jeantet and Benoît Mangin), Jeremy Bolen, Irina Botea, Agnes Meyer-Brandis, Robert Burnier, Marcus Coates, Assaf Evron, Carrie Gundersdorf, Institute of Critical Zoologists, Jenny Kendler, Devin King, Stephen Lapthisophon, Milan Metthey, Rebecca Mir, Heidi Norton, Akosua Adoma Owusu, Tessa Siddle, and Xaviera Simmons.

The Northwest Passage—an historic golden fleece of shipping routes—has opened up in the Arctic, and scientists continue to predict dramatic rising seas. Bee populations have fallen rapidly, raising questions about food production. Mice grow human ears on their backs in laboratories and rabbits glow in the dark. In this new age of ecological awareness, “Nature” as a Romantic ideal—a pristine mountainside beyond the scope of human influence—is but a dithering spirit. Rather than succumbing to the pang of this loss, Ghost Nature exposes the limits of human perspective in the emergent landscape that remains: a slippery network of sometimes monstrous creatures, plants, and technological advances.

An affiliated catalogue of the same name with written contributions by Timothy Morton, Graham Harman, Laurie Palmer, Caroline Picard, João Florêncio, Nettrice Gaskins, and Jamila Woods was co-published by La Box & The Green Lantern Press.

Ghost Nature was featured in issue 7 of the Journal for Artistic Research.
La Box, ENSA, Bourges: January – April, 2014.
Gallery 400, Chicago: January 17 – March 1, 2014.

Field Static: A Group Show About the Object

June 2, 2012 - June 13, 2012

At the Co-Prosperity Sphere

Ellen Rothenberg, Mark Booth, Stephen Lapthisophon, Heather Mekkelson, Christian Kuras and Duncan MacKenzie, Carrie Gundersdorf, Justin Cabrillos, and Rebecca Mir.

Field Static examines the possibilities of objects as they engage with each other and thereby embody a network, or constellation of points. What begins to emerge is an ecology that blurs the lines between life forms and inanimate material bodies. In Field Static curators Caroline Picard and Devin King created an opportunity in which relations between objects might be highlighted such that the field created via the installation of artwork would accent one’s material engagement. Each object within the Co-Prosperity Sphere becomes focal point and periphery alike, suggesting both solitary histories and the peculiar synthesis of matter common to all things. Field Static rejects or, at least, torques art’s historically anthropocentric position — the poem is written by a human, the portrait is painted of a human — in favor of a more egalitarian engagement with objects. How are objects, human and non-human digested and reborn by the realization and decay of magnetisms? Part celebration, part lament for the passing of a moment, these artists have been invited to examine pan-psychic networks of affect and influence.

Essays in accompanying catalogue by João Florêncio, Lin Hixson, Robert Jackson, Lily Robert-Foley, Peter O’Leary, Devin King & Caroline Picard.

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