{"id":8561,"date":"2025-06-05T16:09:36","date_gmt":"2025-06-05T16:09:36","guid":{"rendered":"https:\/\/nationalgunowner.org\/index.php\/2025\/06\/05\/mca-chicagos-2025-art-auction-reflects-its-community-first-mission\/"},"modified":"2025-06-05T16:09:38","modified_gmt":"2025-06-05T16:09:38","slug":"mca-chicagos-2025-art-auction-reflects-its-community-first-mission","status":"publish","type":"post","link":"https:\/\/nationalgunowner.org\/index.php\/2025\/06\/05\/mca-chicagos-2025-art-auction-reflects-its-community-first-mission\/","title":{"rendered":"MCA Chicago\u2019s 2025 Art Auction Reflects Its Community-First Mission"},"content":{"rendered":"
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MCA Chicago is known for bold programming and community-focused initiatives. Photo: Nathan Keay, \u00a9 MCA Chicago<\/span><\/figcaption><\/figure>\n
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Over the past decade and change, the Museum of Contemporary Art Chicago has set itself apart with bold, ambitious programming that spotlights the regional art scene and landmark surveys of leading contemporary artists from the U.S. and abroad. At the helm of the 58-year-old institution\u2019s recent evolution is director Madeleine Grynsztejn, who has led MCA Chicago for 17 years with a focus on curatorial quality, community engagement and ethical governance. Under her leadership, the museum has expanded and diversified its collection through significant gifts<\/a> and acquisitions, while launching forward-thinking initiatives that redefined its role in the city\u2019s cultural landscape.<\/p>\n

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Ahead of the museum\u2019s much-anticipated quinquennial MCA Art Auction<\/a> with Sotheby\u2019s, Observer spoke with Grynsztejn about how she has transformed MCA Chicago into a community-first institution that plays a pivotal role in shaping and fostering Chicago\u2019s increasingly dynamic art scene<\/a>.<\/p>\n

For the director, every aspect of the MCA\u2019s mission begins with a steadfast belief in art\u2019s ability to shape a more imaginative and courageous future. \u201cI\u2019ve always believed that museums can be more than places where art is shown. We strive to be active contributors to public life,\u201d she tells Observer. \u201cEvery visitor to the MCA, whether in person or online, enters into a kind of contract with us: bring us your curiosity and we will show you how art can expand your thinking and deepen your understanding of self and society.\u201d<\/p>\n

\"Madeleine\"Madeleine
MCA Chicago director Madeleine Grynsztejn. MCA Chicago<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Grynsztejn has grounded her approach to helming the institution in three guiding principles: championing revelatory art, fostering social belonging and ensuring that internal practices mirror the ethics of the museum. \u201cWhether we\u2019re commissioning new work, building our team or orchestrating a public program, we\u2019re committed to choices that feel purposeful and in step with the communities we serve,\u201d she says, describing a vision anchored in equal parts artist activation and audience engagement. \u201cThat means we don\u2019t just present art but also catalyze its creation in deep collaboration with the artist. We ensure the museum is responsive to our public.\u201d For Grynsztejn, the MCA is a collaboration between artist and audience. \u201cThe artwork cannot exist without the artist who makes the work and the spectator who \u2018completes the picture\u2019 with their engagement.\u201d<\/p>\n

Most recently, the MCA has actively sought to reassess and reframe its collection. For Grynsztejn, the collection isn\u2019t a static treasure box of masterpieces but rather a toolbox. \u201cThe collection is the DNA of the museum, its very soul. Embedded in the MCA\u2019s collection is the unfolding history of the most advanced contemporary art practices since 1967,\u201d she asserts, adding that the trove must remain a living resource that communities can draw on to imagine new ways forward.<\/p>\n

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SEE ALSO: <\/i><\/b>\u201cThe First Homosexuals\u201d Is a Dazzlingly Overwhelming Chronicle of Queerness in Art<\/i><\/b><\/a><\/p>\n<\/blockquote>\n

Exhibitions like \u201cDescending the Staircase,\u201d which showcases novel artistic approaches to representing the human body, invite audiences to explore fresh interpretations and narratives that earlier presentations of works from the collection overlooked. \u201cCity in a Garden: Queer Art Activism in Chicago,\u201d opening July 5, extends that approach\u2014reminding visitors that a collection never remains fixed; it evolves with the times, shaped by the questions we ask and the voices we choose to amplify.<\/p>\n

The collection and its evolution as a community fixture are intertwined with the history of the MCA Art Auction: generous donors acquired several major works during past editions and contributed them to the museum\u2019s holdings. Grynsztejn says the Art Auction is no ordinary fundraiser, and the museum holds it just once every five years by design. \u201cThis allows the museum to plan thoughtfully, collaborate closely with artists and galleries, and ensure the event reflects the museum\u2019s values as well as its goals,\u201d she explains.<\/p>\n

\"Large-scale\"Large-scale
Rashid Johnson, Untitled Standing Broken Men<\/em>, 2024; Estimate: $800,000-1,200,000. Courtesy of the artist and Hauser & Wirth \u00a9 Rashid Johnson<\/span><\/figcaption><\/figure>\n

The 2025 edition of the auction honors Ed Ruscha<\/a>, an artist whose relationship with the museum spans more than three decades. \u201cWe\u2019re thrilled to include a new commission from him in this auction,\u201d Grynsztejn says. \u201cIt\u2019s one more chapter in a long and evolving story.\u201d His Yup Nope<\/i>, a new work from 2025, has an estimate of $850,000.<\/p>\n

The auction will feature 100 works by some of the most prominent contemporary artists of our time, including some with longstanding ties to the museum like Rashid Johnson<\/a>, Sanford Biggers<\/a>, Paul Pfeiffer<\/a>, Doris Salcedo<\/a>, Amanda Williams<\/a> and Judy Chicago<\/a>. The museum will also present new commissions in private sale alongside Ruscha\u2019s, including Sarah Sze<\/a>\u2019s Missed<\/i>, 2024 (estimate: $450,000) and Luc Tuymans<\/a>\u2019s Reflection<\/i>, 2024 (estimate: $400,000), a timely new painting inspired by both a personal experience with immigration officials and an interrogation reenacted for a documentary film. Sze and Tuymans exhibited at the MCA in 1999 and 2010, respectively.<\/p>\n

Many of the artists whose work is featured in the auction have contributed to multiple editions of the sale, which Grynsztejn says is a testament to the long-term relationships and trust the MCA has cultivated. \u201cThat continuity defines our approach. We often call it our \u2018boomerang\u2019 model; artists come back because the relationships are real.\u201d<\/p>\n

Bidding for the online auction opened May 19 and continues through June 6, when the MCA will host an associated in-person event. Acquisitions do more than support the museum\u2019s immediate mission, according to Grynsztejn\u2014the eventual gift of art to the collection strengthens the institution in a lasting way. \u201cProceeds from the auction will support our most ambitious priorities: bold exhibitions, a canon-expanding acquisitions strategy, and public programs that animate connection and belonging. It\u2019s not just about the works on the walls but about everything that surrounds them: the connection to beauty, meaning and community.\u201d<\/p>\n

The museum\u2019s programming reflects the city it serves<\/h3>\n

Grynsztejn believes the city\u2019s institutions must be attuned to the diverse communities and cultures that define contemporary Chicago. That means creating exhibitions, programs and content that are responsive, accessible and inclusive\u2014both in terms of content and the language used. She pointed to the fact that nearly one in three Chicagoans identifies as Latino or Hispanic, and nearly one in five speaks Spanish at home. In response, the MCA launched a museum-wide initiative to expand bilingual offerings\u2014from signage and printed materials to public and digital programs\u2014ensuring that language never becomes a barrier to participation.<\/p>\n

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An installation view of \u201cNicole Eisenman: What Happened.\u201d Photo: Shelby Ragsdale, \u00a9 MCA C<\/span><\/figcaption><\/figure>\n
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But inclusivity also hinges on the stories institutions choose to tell and whose voices they bring to the forefront. \u201cWe\u2019ve long supported exhibitions that center women, BIPOC and LGBTQ+ artists and explore how migration and identity inform creative expression,\u201d Grynsztejn says. \u201cThat work felt especially urgent in the lead-up to the 2024 election. It\u2019s also reflected in how we collect, intentionally building a permanent collection that better represents the communities we serve.\u201d Today, works by Black women artists comprise ten times the national average in the MCA\u2019s holdings\u2014the result of sustained, values-driven effort.<\/p>\n

The Museum of Contemporary Art Chicago has likewise forged partnerships across the city with organizations like the Sue\u00f1os Music Festival, the Mexican Consulate and the Lit & Luz Festival to meet audiences where they are. \u201cOur goal is to make the MCA feel grounded in the life of the city. It needs to be a space that people see themselves in, and one they help influence and contribute to in return.\u201d<\/p>\n

With shifts in federal leadership, many U.S. cultural institutions now face funding cuts<\/a>\u2014particularly those that openly prioritize diversity and inclusion. When asked what the MCA has experienced in this climate and how the museum is navigating the challenges, Grynsztejn is quick to clarify that the museum remains focused on staying true to its values and mission, regardless of political or economic headwinds. \u201cMoments like this are a reminder of what museums can be: cultural and civic spaces where people come together across differing perspectives,\u201d she says. \u201cActing as a bridge across differences, sparking conversation, and fostering empathy feels more urgent than ever.\u201d<\/p>\n

\"Softly\"Softly
Luc Tuymans, Reflection<\/em>, 2024; Estimate: $400,000. Courtesy Studio Luc Tuymans, Antwerp, and David Zwirner<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Grynsztejn sees this year\u2019s Art Auction as particularly meaningful because funds raised are proof of a shared commitment to the museum\u2019s mission and sustaining its momentum. \u201cThe people who stand with the MCA believe in what the museum does for artists and audiences,\u201d she says. \u201cThe strongest partnerships grow from that alignment, and we\u2019re fortunate to have many that have lasted for years because of it.\u201d<\/p>\n

How the MCA supports Chicago\u2019s art ecosystem<\/h3>\n

With Grynsztejn\u2019s community-centered and collaborative approach, MCA Chicago has become a cornerstone of the city\u2019s rapidly growing and increasingly dynamic art ecosystem. \u201cChicago\u2019s art scene is one of the most compelling and creative in the country,\u201d she says, noting that the city draws talent early, thanks to institutions like the School of the Art Institute of Chicago and the University of Chicago. But what makes the city so unique is that artists don\u2019t just launch their careers here\u2014they stay. \u201cThey build lasting practices in their communities and contribute to the city in ways that are truly meaningful,\u201d she reflects, explaining that this staying power stems from Chicago\u2019s rare combination of affordability, space and a robust support network of funders, collectors, peers and cultural workers.<\/p>\n

\"Colorful\"Colorful
Sanford Biggers, Promiscuous Platform<\/em>, 2023; Estimate: $55,000-65,000. Courtesy of the artist and Monique Meloche Gallery<\/span><\/figcaption><\/figure>\n
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\u201cThe MCA is deeply proud to be an integral part of that ecosystem. We support artists through exhibitions, commissions, acquisitions, partnerships and long-term relationships,\u201d Grynsztejn adds, pointing to programs like The New Art School Modality developed with Romi Crawford, which reimagines how institutions can nurture artistic thinking from the ground up. \u201cArtists like Amanda Williams, Rashid Johnson, Nick Cave, Wafaa Bilal, Michael Rakowitz, Caroline Kent, Kerry James Marshall and Theaster Gates\u2014who are core to the fabric of Chicago\u2014have all intersected with the MCA in ways we\u2019re honored to have supported. Many of them are also part of this year\u2019s auction, which speaks to the depth and continuity of those relationships. We are incredibly grateful for their ongoing generosity and collaboration.\u201d<\/p>\n

Grynsztejn is quick to point out that Chicago has never lacked talent\u2014what\u2019s changed is the spotlight. \u201cMore people are paying attention,\u201d she says, \u201cand part of our job is to make sure that attention stays focused where it matters, on the artists building something here.\u201d<\/p>\n

\"Gallery\"Gallery
An installation view of \u201cArthur Jafa: Works from the MCA Collection.\u201d Photo: Robert Chase Heishman<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

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