What if the future of museums begins with disability? Now on view at the Design Museum of Chicago, “Voices Embodied: Prognostication” brings together thirty-eight local, national and international artists, alongside films and performances, to imagine a “disability-forward future”—one shaped by access, community, embodied experience and collective vision.
Kelly Coleman, On Top Of The World, 2025, Acrylic paint, Grit Gel, 24 x 36 in/Photo: Russell Lord
The latest iteration of the “Voices Embodied” project, “Prognostication” pushes against the conventions of the white cube, asking what becomes possible when accessibility is treated not as an accommodation, but as a starting point for design, exhibition-making and cultural exchange. Newcity speaks with curator Alex Stark about challenging museum conventions, building conversations across many forms and perspectives and how disabled artists can help us imagine more expansive futures for art, design and public space.
Katherine Sherwood, Wheelchair Madonna, 2023, Acrylic and mixed media on found canvas, 68 x 43 1/2 in/Photo: Russell Lord
“Voices Embodied: Prognostication” is centered on a “disability-forward future.” What does that phrase mean to you, and how did it shape the exhibition from the beginning?
I think all of the “Voices Embodied” exhibitions could speak to this, but this is the first time I’ve used this specific language–of a disability-forward future. Part of my inspiration for this language comes from Leah Lakshmi Piepzna-Samarasinha’s book, “The Future is Disabled.” In my experience in the disability community, the idea of the future is brought up a lot.
Disabled people are on an everyday basis being creative about how they approach daily tasks and life, and they may have insights and ways of being creative that most people aren’t aware of. Disability future is not only how we all survive in a space together, but how we creatively encounter obstacles and learn from each other. It’s about creating an ecosystem where all ways of thinking are valued and mutually beneficial.
The artists were asked to push the boundaries of what a typical museum show looks like. What conventions of exhibition-making did you most want to challenge or rethink?
I think all the “Voices Embodied” shows speak to rethinking exhibition making by connecting a public audience in institutional spaces and disabled artists. Especially with the later “Voices Embodied” shows that have grown in size, I’ve become interested in thinking about, discovering and trying to represent broad connections between disabled communities, public spaces and advocating for visibility while exploring my own connection to disability and art. I’m challenging the conventions of what voices are being highlighted. Shows that focus on disability are rare especially in a museum setting.
Artists included clockwise beginning with top piece are Lynn Walsh, Elliot Harold, Quentin Kailun Yang, Moth Clements, Doborah Awwad, Juan G. Espantapajaros, Daisy (Chang) Ye, Chloe Pascal Crawford and Echo (Qinyu) Huan/Photo: Russell Lord
How does design change when accessibility is treated as a starting point rather than an accommodation?
Considering accessibility as an accommodation versus a starting point is usually when design for disability meets a bare minimum. The fact that we need accommodations to meet the standards that are set out by able-bodied people speaks to the fact that society is not designed for disabled people. This show emphasizes how varying perspectives can be brought together to design a considerate space that is forward-thinking.
H Marsh Schenck, Self-Portrait 2021-present, 2026, Mixed Media on Canvas (lavender plant, photograph, tape, acrylic, etc.), 59.5 x .75 x 79 in/Photo: Russell Lord
With thirty-eight artists, plus films and performances, how did you think about building a conversation across so many practices, bodies, perspectives and forms?
Many of the “Voices Embodied” shows have started with an open call. That format has been a way for me to think about different perspectives and creative artistic styles and how those might relate to one another. The open calls allow me to think about connections that differing works may have with one another. Including this many artists and seeing what conversation evolves through them speaks to the excitement of discovery.
Alex Stark, Miss Universe, 2025, Glazed ceramic, 16″x 19″x 11″/Photo: Russell Lord
The exhibition is described as a “reimagined space,” with purple and silver walls reflecting the artists’ collaborative vision of the future. How did color, space and atmosphere become part of the exhibition’s language?
The colors, especially silver, speak to the theme of the exhibition, particularly focusing on the future. I’ve talked a lot about pride, strength and ferocity in these shows and purple relates to the boldness of these themes. I wanted a space where colors suggested boldness yet created a welcoming and uplifting atmosphere that strikes a contrast with the typical white-walled museum and gallery space.
Eia Radosavlijevic, Raba, 2023, Rabbit hair felt, cardamom essence, 70 x 16 x 16 in/Photo: Russell Lord
Painting the walls for me speaks to ownership and a reimagining of the space. I’m trying to create a space that pushes audiences further into the creative lives of these artists and their works in the show. Many of these pieces speak directly, abstractly and metaphorically to artists’ experiences or of those around them. I aim to create an atmosphere that helps audiences interact more intimately with these pieces.
Magnetic Space Bubble, Blooming Wish, 2024, Recycled glass, polymer clay, wire, beads, candles, paper, organic matter, 6 x 6 x 6 in/Photo: Russell Lord
What do you hope visitors understand differently about access, community and the future of museums after moving through the show?
I want visitors to feel the excitement of seeing all this work together that I felt when I was looking through the applications. There are so many ways of representing embodied experiences. When I was thinking of the term prognostication in the title, I was thinking of foretelling the future or providing a vision, and I think particularly seeing all of these works cumulatively makes me think about imaginative potential. A lot of people coming together and expressing individual experiences creates a relationship.
“Voices Embodied: Prognostication” is on view at the Design Museum of Chicago, 72 East Randolph, through January 18, 2027.
Greek-born Vasia Rigou is a writer, editor, and curator. Her appreciation for art began early, shaped by her family’s meticulously planned, culture-packed trips across Europe—complete with every museum stop imaginable. Much of her work, writing about visual art, design, and culture can be found at Newcity, Chicago’s leading culture publication, where she serves as editor. She also regularly contributes to Artnet News and to international magazines OnOffice and ICON. In her curatorial practice she explores themes of identity, intimacy, and belonging. You can usually find her gallery hopping around the city—occasionally with her toughest (and tiniest) critic, baby Benjamin, whose current favorite medium is finger paint. Say hi on Instagram or at rigouvasia.com.
