Info

2026
Carrier

2025
Scherben: Two Roses & A Briar Pipe
Looking for the One, Athi Patra Ruga
White Hydrogen
2024
Maison Fragile
Millennial Hallway
2023
Athi Patra Ruga: …looking for The One.
Survival on Land & Sea
Desire
Reckless Rolodex
2022
Sketch for a Movie
Soccer Pictures
2021
Amina Ross: Man’s Country
Oli Rodriguez: Papi
John Neff: 101
2020
Bequest of Robert Blanchon
2018
Kevin Killian: Spreadeagle
Kelly Kaczynski, Thomas Kong, Patric McCoy, and John Neff: Curated by John Neff, Curated by Jamie Stevens
Coop Fund, Amalle Dublon, Constantina Zavitsanos, Devin Kenny, John Neff
2017
Blue Bathroom Blues Set for Frederick Weston
Authorization Sessions 
Dani and Sheilah ReStack: Stack for Carrington’s Hyena
Hervé Guibert: How Could It Be Otherwise?
Arnold Kemp
Eternal Youth
Militant Eroticism: The Art+Positive Archives

2016
Joe Cassan: Bed, Bath, and Beyond
Chicago and Vicinity
Tony Greene Movie (2014-2016)
2015
Thomas Kong / John Neff Making Chances Militant Eroticism: The Art+Positive Archives
Robert Beck / Robert Buck
Kelly Kaczynski: Oh! Oh! Oh!
2014
Tony Green
2013
Kaplan Project
Mark Jackson / Tony Lewis / John Neff
John Neff
2012
Mark Jackson: Darkness and Light
John Neff
Spectral Landscape (with Viewing Stations)
2011
Intimacies
John Neff Prints Robert Blanchon
Kelly Kaczynski
2010
The Book of the Tumblr on Fire
Production Site: The Artist’s Studio Inside-Out
2009
The Analog Hole (Or “Abundance”)
Artist Run Chicago/ Artists Run Chicago Digest
Basic or Boring Pictures
Doug Ischar: An Interview. In “Marginal Waters.”
2008
Dead Center / Marginal Notes Bathers and Other Liquid Pictures Father, can’t you see I’m burning Nocturnes for Boston Trans Blueprints and Trans Study
2007
Snowfall 
Printed Space
I’m Not Saying It Does & I’m Not Saying It Doesn’t- An Interview with Fred Camper.
2006
Pornographic Pantograph with Allusion to Juan Sanchez Cotan (In Progress, Patent Pending)
Monuments of the Prosaic. BAT Journal
2004
Travels Between the First and Third Dimension
2003
Hysterical Pastoral
Stray Show Catalogue (with Hypothetical Continent)
2002
Loop
Papers on Work- Collages and Explanations
2001
Triptych
Untitled (To My Mother)
2000
Cold Conceptualism
Figure / Ground
Repetitions
1999 Empty Space
1998
Two Comparsions
1997
Documentuh
Vexations
1996
214 West Gilman St. #2


2024Maison Fragile
Caroline Chun, Jenny Halpern, Fatemeh Kazemi, J Kent , John Neff, Eia Radosavljevic, Bun StoutExhibition

September 29 — November 17

RUSCHWOMAN
Chicago, IL We prefer a hush to settle rather than suffer through your bloated brags about your father’s house and the many mansions it contains, apparently eternally. Of course there is a temple at the nexus of class divides, religious ideology, and the supposed rights and entitlements inherent to the [right kind in the eyes of hegemonic systems of power] individual, but for better or worse our lot has been let go (laid off? dismissed? fired? All of these fragments of corporate nomenclature exceed themselves with razzling sparks of psychopoetic drama). We’ve gone somewhere else where chief among our criteria that security and shelter (not to mention décor and domestic activity) would not be Your Father’s, or anybody’s.

Here at Maisons Fragiles, we wouldn’t say we have daddy issues—it’s not an issue for us that paternalistic symbolic orders have failed, drifted, disappeared, or floated away on the wind. After Louise Bourgeois’ Destruction of Father / Reconstruction of Father, the third unmentioned Act was another destruction of father, pretty much at his own hands, if not also the disrepair and collapse of an overextended patriarchy that flubbed and stammered back to our radiance, our self possession, our high femme feminism, our secrets, and our open secrets.

Maisons Fragiles is a dead dads club in at least conceptual ways. Several years before mine passed, I was wearing a draped duster jacket cardigan made from black lace and he saw it and he grabbed my elbow dragging me like I was still a kid and threw me toward my open suitcase and told me to change.

I did change. Each of my fucking feathers fell from skin, and what remained was transparent in its queerness, its willful mirthful deviance, in its freedom to dance, to dress up in black lace and white lace and grey lace and grey taffeta and grey silk and white feathers and red purses and black dresses and pearlescent breastplates and antique tutus and fascinating fascinators and glittering grape jelly bedsheet raiments.

Here at Maisons Fragiles, we clothe ourselves in our radical visions for future ideas of home and belonging.

This endeavor is structured around grand swings between the impoverished and the glamorous, the combination of which represents a burgeoning value system that rejects the exclusions etched into being by massive differentials in wealth, instead redefining glamour and luxury with whatever tools, leftovers, mementos, sob stories, and lightest touches are most readily accessible.

Here at Maisons Fragiles, we’ve set up shop in this cunning little midwestern timeshare vacation home jointly owned by prima ballerina Janet Collins (1917–2003), Princess Fatemeh Khanum Esmat al-Dowleh (1855/6–1905), Gertrude Stein (1874–1946), Gladys Bentley (1907–1960), Stéphane Mallarmé and his fashion critic nom de plume Marguerite de Ponty (1842–1898), and Louise Bourgeois (1911–2010). Because here at Maisons Fragiles, the dead are our teachers, our lovers, and the closest thing we need to a father. Theirs is a matriarchal commy-infused anarchy building from within our dresses, under our hats, and running up and down the halls of our place.

Many rooms is a fancy way of saying elaborate yet closed systems. But what of a plume? An escape route? A pirouette into shadow? The color that rises in a blush, then settles back into draining away, keeping time with exhalation? The political efficacy of fragility: ephemeral, gentle, accountability for damage, preference for safety over showers of bombings, hard and soft femmes who are learning to m/other ourselves, whispers, sighs, snores, feather down.