Art Review
Theaster Gates is a master at blurring the lines between different roles in the art world. From artist to collector, archivist to storyteller, and ceramicist to interior decorator, Gates seamlessly navigates between these roles to create a complex and socially engaged practice. Recently, I had the opportunity to experience three concurrent presentations of his work in Chicago, including “Oh, You’ve Got to Come Back to the City” at Gray Gallery and “Unto Thee” at the Smart Museum of Art at the University of Chicago, along with a site-specific installation titled “African Still Life #3: A Tribute to Patric McCoy and Marva Jolly.”
While Gates’ work is undeniably thought-provoking, there were certain aspects that gave me pause. One of them being that the sum of his work often feels greater than its individual parts. By using materials like decommissioned fire hoses, rubber, tar, and felt in his paintings, Gates draws attention to the legacies of racial injustice and his own personal history. However, at times, these materials seem to overshadow the underlying subject matter, leaving little room for interpretation beyond what is explicitly stated in wall labels or previous texts on the artist.
On the other hand, Gates excels at aestheticizing anything, reminiscent of Marcel Duchamp. In exhibitions like “Unto Thee,” where paintings and ceramics are displayed alongside various objects gifted to Gates, including a credenza and a friend’s book collection, the line between art and everyday objects blurs. However, at times, this blending of art and life felt disjointed, with certain details acting as barriers to fully appreciating Gates’ larger artistic vision.
In contrast, “Oh, You’ve Got to Come Back to the City” at Gray Gallery presents a different side of Gates. The installation features rows of marble columns adorned with ceramic vessels, creating a space open to interpretation. Unlike the didactic display in “Unto Thee,” this exhibition invites speculation and self-reflection, challenging viewers to rethink their perceptions of form and material.
Overall, Theaster Gates’ ability to create ambiguity and invite self-reflection in his work sets him apart as an artist. By opening gaps between perception and reality, Gates goes beyond simply making connections for the viewer – he encourages deeper engagement and introspection. “Oh, You’ve Got to Come Back to the City” and “Unto Thee” offer a glimpse into Gates’ multifaceted practice, showcasing his ambition and vulnerability in equal measure.
Theaster Gates: Oh, You’ve Got to Come Back to the City continues at Gray Gallery through December 20. The exhibition was organized by the gallery.
Theaster Gates: Unto Thee continues at the Smart Museum of Art at the University of Chicago through February 22, 2026. The exhibition was curated by Vanja Malloy and Galina Mardilovich.
