How About an Art Night Out?
Three exhibitions, one celebration! This October’s theme: Materials and Self.
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January 1, 2026 December 31, 2026 America/Chicago 2026 Exhibitions : We Hold These Truths Introducing the 2026 Exhibition Theme As we planned our exhibitions for 2026, the 250th anniversary of the Declaration of Independence, the DAI team and a panel of regional arts professionals asked one powerful question: What is American art? We reached a clear conclusion: American identity holds many truths—complex, diverse, and sometimes contradictory—and art uniquely expresses every story, perspective, challenge, and hope that shapes our nation’s past and present. In 2026, we invite you to explore these truths with us. Throughout the year, we’ll host exhibitions, classes, and programs that celebrate the many facets of American art and identity. Reflect, create, and share with us: What does your truth look like? Read more about the theme Exhibition Schedule Q1: Truths of Culture and HistoryOn view January 12–April 3, 2026 Fur Trade Nation: An Ojibwe’s Graphic HistoryCarl Gawboy Ojibwe Adornment In Ribbons, Cloth, Beads, and FurWendy Savage Part of our 2026 "We Hold These Truths" programming.Funding provided by the Minnesota Humanities Center and the National Endowment for the Arts Q2: Truths of Community 2026 Annual Member ShowTheme: We Hold These Truths Part of our 2026 "We Hold These Truths" programming.Funding provided by the National Endowment for the Arts Q3: Truths of Visual Language Ish Meets a MermaidJonathan Thunder, Vera Bianchini, Camila Guillen Send FlowersCody Paulson and Stephen Pestalozzi Part of our 2026 "We Hold These Truths" programming.Funding provided by the National Endowment for the Arts Q4: Truths of Self and Materials Material DrivenAndrew Webster Applied PressureRobb Quisling RootedLauren Faherty Part of our 2026 "We Hold These Truths" programming.Funding provided by the National Endowment for the Arts We Hold These Truths Events and Classes [tribe_events tag="We Hold These Truths" view="list"] Thank You to Our 2026 Exhibition Advisory Panel Christina Woods, Deb Eagle, Tia Keobounpheng, Paul LaJeunesse, Wendy Savage, Jesse Switters, Madeline Kayser, Aurora Webster, Meg Litts, Robb Quisling, Jonathan Thunder, Sam Zimmerman Duluth Art Institute
October 19, 2026 December 21, 2026 America/Chicago Applied Pressure Register for Art Night Out, Thursday, October 29 About the Exhibition Robb Quisling turns inward, investigating ways objects become conduits for interpersonal connection—vessels that carry the weight of memory, at times offering release or further desire. Applied Pressure presents paintings, prints, and sculptural work, each offering a moment in time that reveals a story. As you move through the exhibition, each stop will invite you to consider and respond to a question. Quisling asks us to consider the pressures we place on ourselves and the ways we are shaped by the expectations and influences that surround us. Who really holds control… yourself, or another? From Artist Robb Quisling This exhibition has given me the opportunity to indulge in some compulsive behavior and to find some relief. I usually start by becoming overly attracted to an object, which I collect and carry around. Eventually, the object seems to imprint on me and becomes more pliable. It will cooperate with me to solve a problem. We regulate our emotions, relationships, our bodies, impulses, and behaviors to try to be socially acceptable by holding things in or letting them out. The objects in this exhibition became a way for me to think about these behaviors without having to illustrate them literally. I can look back on a finished piece and see what I was thinking and why. Duluth Art Institute
October 19, 2026 December 21, 2026 America/Chicago Rooted Register for Art Night Out, Thursday, October 29 About the Exhibition Lauren Faherty brings to the table the lineage of women’s craft traditions. The works highlight how craft practices such as quilting and needlework record histories often excluded from official narratives. Craft preserves lived experience—familial and communal. Fahery shares, “I am a direct continuation of this learning—my grandmother, a talented craftswoman, taught my mother, who in turn taught me. This connection to textiles, passed down through these women, grounds my artistic approach and understanding of craft as a living legacy.” Through material choices and processes, Faherty reveals how craft becomes an archive of truth. “Gathering” “Gathering,” an interactive, community-based project, sits as a centerpiece of the exhibition—a tablecloth that has been embroidered over several months. Accompanying the work are photographs documenting the life and history of the work as it traveled through communal dinner parties, picnics, and “crafternoons.” Sit at the table and become part of the material history of the work. From Artist Lauren Faherty Generations of women in my family added beauty to their lives and homes through crafted textiles. Central to this practice was the embroidered tablecloth; in joining around the table, people connected, shared ideas, and learned from one another. Duluth Art Institute
October 19, 2026 December 21, 2026 America/Chicago Material Driven Register for Art Night Out, Thursday, October 29 About the Exhibition Andrew Webster, a carpenter by trade, shares a profound respect for the histories embedded in wood and construction materials. His work reflects a lineage of craft in his family’s labor, where no object is considered waste, but seen as potential and a keeper of memory. Something as simple as scrap wood, metal, or glass, for Webster, is as significant as a finished artwork. These materials carry a narrative of place, time, and personal connection. Material Driven asks the audience to consider the relationship they have with the objects they consume, and how these interactions affect the world around them. From Artist Andrew Webster We are all consumers of goods and resources. There was a time when the planet could keep up with our desire for growth in building and expanding. My hope is that these materials will be recognized and appreciated for their intrinsic value and beauty. There is beauty in the ordinary that is often unseen or overlooked. All material has story, history, and context, significance and value. Sometimes the story itself is the value. My intent is to invite the viewer to consider the story or the life of the material, what it was, where it came from, how it arrived in its current form or application. Duluth Art Institute
