The Chicago Imagists, a group that once felt perpetually on the verge of disappearing, are having a moment – again. And this isn’t just an art-world blip; it’s a fascinating case study in how institutional validation can reshape a legacy, and how long it can take for truly disruptive art to be fully appreciated.
- Six Imagists are featured in the Whitney Museum’s “Sixties Surreal,” a major reappraisal of the era.
- Gladys Nilsson will have her first large-scale retrospective at the Crocker Art Museum in 2026.
- The Roger Brown Study Collection has been donated to the Kohler Arts Center, ensuring the preservation and accessibility of his work.
For years, the Imagists – a collective of Chicago artists who emerged in the 1960s with a deliberately brash, figurative style – existed somewhat outside the mainstream. They were too “regional,” too irreverent, too…different for a New York-centric art world dominated by formalism. As artist Richard Hull notes, their staying power wasn’t immediate. It was a slow burn, fueled by influence rather than instant acclaim. This delayed recognition speaks volumes about the gatekeepers of the art world and their often-slow response to work that doesn’t fit neatly into established narratives.
What’s happening now isn’t simply a rediscovery; it’s a correction. The Art Institute of Chicago’s 2018 retrospective, “Hairy Who? 1966-69,” was a pivotal moment, providing the scholarly grounding the group had long lacked. Now, with major exhibitions at the Whitney and Crocker, and the secure future of Brown’s collection, the Imagists are being positioned as key figures in American art history. This feels less like a trend and more like a long-overdue reckoning.
The timing is also interesting. The art world, and culture at large, is currently obsessed with authenticity and challenging established norms. The Imagists, with their deliberately unpolished aesthetic and rejection of art-world “rules,” fit neatly into that narrative. It’s a savvy moment for institutions to champion a group that was once considered outside the canon. The Kohler Foundation’s donation, for example, isn’t just philanthropy; it’s a strategic move to associate their brand with a vibrant and increasingly celebrated artistic movement.
Looking ahead, the 2026 Nilsson retrospective at the Crocker Art Museum feels particularly significant. As curator Francesca Wilmott points out, Nilsson’s work hasn’t received the academic attention it deserves. This show has the potential to cement her legacy and further elevate the profile of the Imagists as a whole. The fact that the Madison Museum of Contemporary Art is planning a dedicated Imagist exhibition space in 2028 suggests this isn’t a fleeting moment, but the beginning of a sustained period of recognition. The Imagists, it seems, have finally arrived – and they’re bringing a much-needed dose of joyful, rebellious energy with them.
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