Located in the heart of Milwaukee, the Kim Storage Gallery is a vibrant space celebrating the creativity of Wisconsin and beyond. This gallery features a diverse mix of museum-quality artwork, ranging from innovative pieces by emerging local talents to esteemed works by established artists. It’s a dynamic hub where art enthusiasts can explore the evolving landscape of contemporary art in an inviting and accessible environment.
Jan 2–Feb 14: Susan Hall. Opening Jan 16, 5–8pm
Feb 27–Apr 10: Gabrielle Marie Stone. Opening Feb 27, 5-8pm
Apr 17–May 30: Katherine Steichen Rosing. Opening: Apr 17, 5-8pm
Jul 10–Aug 15: Color Play. Opening: July 17, 5-8pm
Aug 21–Sept 26: Tim Anderson. Opening: Aug 21, 5-8pm
Oct 2–Nov 7: Hector Acuna & Andy Paczos. Opening: Oct 16, 5-8pm
Nov 13–Dec 19: Doug Fath. Opening: Nov 13, 5-8pm
Image: Art by Paul Krainak
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October 9 - November 7, 2026
Opening Reception: Friday, October 16th from 5 to 8PM (Gallery Night MKE)
207 E Buffalo St, Suite 404, Milwaukee, WI 53202 (Marshall Building, 4th floor)
Kim Storage Gallery is pleased to present Out There, a two-person exhibition of new work by Hector Acuna and Andy Paczos. The title borrows the advice a teacher gave Paczos at the School of the Art Institute of Chicago: look out the window, \"there's lots of good stuff out there.\" He took it, and has painted Chicago from direct observation for three decades since. Acuna works the same way, returning to his Wisconsin sites across multiple plein air sessions and staging handmade props to paint in natural light. Both find their subjects by standing in front of them
Andy Paczos, From Chicago. Ave. Bridge, Oil on linen, 28 x 40\", 2011
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At the heart of his practice is a commitment to painting as a healing mechanism — a space where isolation, grief, injustice, and resilience can be held together without easy resolution. Fath’s imagery draws on encyclopedias, folk art, scientific illustration, literature, and poetry, weaving them into allegories that speak to the current political and social moment. The narrative is always open-ended, never didactic — he invites the viewer to complete the meaning, to bring their own experience into dialogue with his.
His primary influences are the women of the Mexican Surrealist movement — Frida Kahlo, Leonora Carrington, and Remedios Varo — whose unflinching examination of pain, isolation, and the inner life runs throughout his work. Fath received his MFA in Photography from the University of Illinois at Chicago and has exhibited across the United States at venues including the James Watrous Gallery, Arts + Literature Laboratory, Tory Folliard Gallery, the Dubuque Museum of Art, and the Museum of Wisconsin Art.
Exhibition Dates: Friday, May 10 - Saturday, June 8
Milwaukee artist Jean Roberts-Guequierre engages with visual sources from the past that evoke the dreamworlds of Netherlandish painter Hieronymus Bosch (ca. 1450 - 1516) and Pieter Breughel the Elder (ca. 1525-1530 - 1569). Adopting the visual vocabulary of those early masters of the moralizing and fanciful pleasure domes and hellscapes, Jean reimagines the imagery to describe the travails of modern life, particularly the experiences of middle-aged women. Her paintings recontextualize the male centric gaze of the past, placing women as powerful actors and voices, unbound by contemporary ideals of beauty and size.
Image: Jean Roberts Guequierre, Dulle Griet, Oil on board, 20\" x 20\"
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“I love those moments in your life when you think that you have ... this personal thing and then you meet somebody that also has a similar memory or sort of fondness for that thing. There’s an immediate connection then that you have...” – Megan Woodard Johnson, from the Authentic Obsessions with Margret Petrie Podcast
Image: MEGAN WOODARD JOHNSON, STRIKING OFF ON MY OWN, 2023
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“I love those moments in your life when you think that you have ... this personal thing and then you meet somebody that also has a similar memory or sort of fondness for that thing. There’s an immediate connection then that you have...” – Megan Woodard Johnson, from the Authentic Obsessions with Margret Petrie Podcast
Image: Walks to School #7, Mixed Media on panel, 24 x 24”
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Through his masterful use of oil on canvas and panel, Anderson captures the essence of the Northwoods. At times his palette evokes the cool blues of early morning lakes and the rich greens of dense forests, but more often than not, there are bursts of his favorite color, a harsh Dutch yellow. Each piece serves as a visual diary, offering a glimpse into the intimate and personal moments that have defined his connection to the natural world.
Up North is not just a return to the past for Anderson; it’s an invitation for viewers to explore their own connections to place and memory, through the lens of his deeply personal art. This show promises to be a compelling exploration of the places that have shaped Anderson’s work, providing a window into the artist’s soul as he reflects on the environment, people, and stories that continue to inspire him.
Image: Argo, Oil on canvas, 36 x 50”
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and to meet Chicago-based artist Tim Anderson.
MEET AND GREET
Saturday, September 14 from 1 to 4PM
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The artist's fascination with horses shines through each canvas, with vibrant, ultramarine hues and dynamic compositions that invite viewers to contemplate the relationship between man and beast. Each piece reflects the artist’s philosophical exploration of the horse's profound impact on human emotions, as she channels this through expressive brushstrokes and layered textures.
This exhibition at Kim Storage Gallery oUers an immersive experience into Robertson’s world, where the majestic equine form becomes a metaphor for strength, freedom, and the human spirit.
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creation, highlighting Smith's unique ability to transform discarded materials into profound expressions of inner life.
Alyssa Smith, known for her innovative approach and emotive brushstrokes, brings a fresh perspective to the contemporary art scene. In her own words: Unconscious brushstrokes on discarded muslin become the start of a new project, the color of an eggshell finds its way into the color of a wall – our being left to its own creative path will build bridges out of very little.
Smith's work is a testament to the boundless potential of the human mind and the connections we forge in the mind's eye. Her art invites viewers to explore the windows of consciousness that rise to the surface, each veiled to different degrees. She illuminates both the day and the night, showing that we are only ever engaging a very small percentage of true reality.
The collection challenges us to consider how we guide our minds with stories built on stories and filtered perceptions. Smith's pieces navigate the delicate balance between inner and outer life, wilderness, and domesticity, revealing the struggle to truly see ourselves and others.
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Friday, January 17 from 5 - 9 pm.
The Glass Trap is an exhibition of recent paintings and drawings by the artist Hector Acuna made from direct observation in his studio and outdoors en plein air. What began as a recurring motif in the field, reflections from public mirrors and windows, evolved into a new practice of staging found mirrors and handmade reflective objects as his process and subject. The latest handmade object in his growing collection of homemade props is a custom wooden cube he decorated with hand cut mirrors. How light and space become skewed and fragmented on glass inspires his approach because it holds a tension between what appears familiar yet unfamiliar.
The ephemeral quality of light held his primary interest when painting outdoors as he observed successive moments in time. In his studio, his focus shifted towards close and careful observations of mirrored objects against large fields of atmospheric color. Hector explored the elemental role of shape and uncovered opportunities to simplify his subjects into a visual language of sharp and often opaque shapes. He aimed to transform common and everyday subjects with hopes of finding something unexpected. Glass has become an exciting material where themes of scale, interior/exterior space, perception, and self can be explored and where visual combinations seem endless.
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Friday, January 17 from 5 - 9 pm.
The Glass Trap is an exhibition of recent paintings and drawings by the artist Hector Acuna made from direct observation in his studio and outdoors en plein air. What began as a recurring motif in the field, reflections from public mirrors and windows, evolved into a new practice of staging found mirrors and handmade reflective objects as his process and subject. The latest handmade object in his growing collection of homemade props is a custom wooden cube he decorated with hand cut mirrors. How light and space become skewed and fragmented on glass inspires his approach because it holds a tension between what appears familiar yet unfamiliar.
The ephemeral quality of light held his primary interest when painting outdoors as he observed successive moments in time. In his studio, his focus shifted towards close and careful observations of mirrored objects against large fields of atmospheric color. Hector explored the elemental role of shape and uncovered opportunities to simplify his subjects into a visual language of sharp and often opaque shapes. He aimed to transform common and everyday subjects with hopes of finding something unexpected. Glass has become an exciting material where themes of scale, interior/exterior space, perception, and self can be explored and where visual combinations seem endless.
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The ephemeral quality of light held his primary interest when painting outdoors as he observed successive moments in time. In his studio, his focus shifted towards close and careful observations of mirrored objects against large fields of atmospheric color. Hector explored the elemental role of shape and uncovered opportunities to simplify his subjects into a visual language of sharp and often opaque shapes. He aimed to transform common and everyday subjects with hopes of finding something unexpected. Glass has become an exciting material where themes of scale, interior/exterior space, perception, and self can be explored and where visual combinations seem endless.
The Kim Storage Gallery is pleased to announce the upcoming exhibition Connections featuring Chicago Artist Jordan Scott.
Closing Reception: Friday, April 11 from 5 to 9PM (Gallery Night MKE)
Artist Talk: Saturday, April 12 starting at 1PM (Gallery Day)
Elements, Used U.S. postage stamps and resin on canvas, diptych, 36 x 36\"
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Stop by Friday night, April 11, to see our current exhibition, Connections, and to mingle with the artist, Jordan Scott. He will also be giving an artist talk in the gallery on Saturday discussing his intricate art making process where he takes 1,000s of used stamps and turns them into abstract collages.
We hope you can join us for the reception on Friday night and if you’d like to attend the artist talk on Saturday, April 12, please RSVP below.
ABOUT THE ARTIST
Jordan Scott is an award winning Chicago based artist and photographer. Represented by art galleries nationwide, he has also taught at several prestigious art centers and at Robert Morris University in Chicago. His mixed-media artwork pays homage to his beliefs in the interconnectedness of the universe and is inspired by theories of the collective unconscious and Scott’s 35 years of martial arts training and teaching. He received a Bachelor of Arts degree from Indiana University and a Certificate of Photography from the Chicago Photography Academy.
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Stop by Friday night to see our current exhibition, Connections, and to mingle with the artist, Jordan Scott. He will also be giving an artist talk in the gallery on Saturday discussing his intricate art making process where he takes 1,000s of used stamps and turns them into abstract collages.
We hope you can join us for the reception on Friday night and if you’d like to attend the artist talk on Saturday, please RSVP below.
ABOUT THE ARTIST
Jordan Scott is an award winning Chicago based artist and photographer. Represented by art galleries nationwide, he has also taught at several prestigious art centers and at Robert Morris University in Chicago. His mixed-media artwork pays homage to his beliefs in the interconnectedness of the universe and is inspired by theories of the collective unconscious and Scott’s 35 years of martial arts training and teaching. He received a Bachelor of Arts degree from Indiana University and a Certificate of Photography from the Chicago Photography Academy.
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Artist Talk: Saturday, July 19 beginning at 1PM (Gallery Day)
Kim Storage Gallery is thrilled to present \"Mind Games,\" a solo exhibition by Chicago-based artist April Behnke. This captivating show features a new body of work showcasing Behnke's exploration of perceptual play through paintings and drawings. The exhibition delves into the ways we use vision to perceive patterns and make sense of the world. Behnke skillfully interrupts these patterns, mixing up foreground and background to create a visual experience that is both familiar and disorienting. Visitors will be intrigued by the dynamic interplay of colors and shapes, which challenge and engage the viewer's perception. \"Mind Games\" not only references the show's main theme but also invites viewers to participate in a playful and interactive experience. Behnke's work draws inspiration from both board games and early video games, incorporating structured patterns and visual interruptions that evoke a sense of nostalgia and curiosity. This exhibition marks Behnke's first solo show at Kim Storage Gallery, and it promises to be a thought-provoking and visually stimulating event. Join us for the opening reception and artist talk, where Behnke will provide deeper insights into her creative process and the conceptual underpinnings of her work.
Electric Dreams, Flashe on canvas, 48 x 60\"
Chicago-based painter April Behnke received her MFA from the School of the Art Institute of Chicago in 2011 and has completed residencies at the Bemis Center for Contemporary Arts in Omaha and the Slak Foundation in the Netherlands. She has exhibited nationally and internationally, including in Mexico City, Seoul, New York City, Berlin, Chicago, London, and Basel.
Location: 207 E Buffalo St, Suite 404, Milwaukee, WI 53202 (Marshall Building, 4th floor)
Kim Storage Gallery is pleased to announce, \"STAY THE COURSE,\" a solo exhibition by Chicago-based artist Tim Anderson. Drawing from a life rooted in the Midwest and a career steeped in the traditions of oil painting, Anderson’s latest body of work explores the enduring idiom “Stay the Course” – a nautical phrase that evokes persistence, resilience, and steadfast direction. These works are not literal depictions, but visual meditations on history, navigation, portraiture, and endurance.
Tim Anderson’s paintings serve as “signposts and signals,” reflecting a personal and historical journey through adversity and purpose. Inspired by language, classical references, and wartime perseverance, Anderson’s work continues his commitment to painting as a method of disciplined exploration. As he writes, “I need the research as much as I may need the act of painting. I need resilience, determination, and most of all, focus.”
Join us for an evocative exhibition that reaffirms Anderson’s belief in oil painting as a lifelong artistic path – one that, like its title, stays the course.
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Artists’ Reception: Friday, October 17 from 5 to 8PM (Gallery Night MKE)
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Artists' Reception: Friday, October 17 from 5 to 8PM (Gallery Night MKE)
Artist Meet & Greet: Saturday, October 18 from 1 to 3PM
Location: 207 E Buffalo St, Suite 404, Milwaukee, WI 53202 (Marshall Building, 4th floor)
Michael Banning’s new paintings of window views and garden walls represent a departure from his recent work that focused on faithfully depicting the interior spaces of his home. Although some of these small paintings are loosely based on windows within the artist’s house, the spaces outside the windows are derived from his travels in the United States and Europe. These constructed images represent both the solace of home and the longing for another place and time. In each of the paintings, doors and windows reveal glimpses of the natural world just outside. The views are partial, framed and fragmented by the structures that surround them, serving as metaphors for both the archetypal garden and the forest of the unconscious.
Image: Michael Banning, Window with Cedar Tree, Oil on linen over panel, 10 x 10”
The Kim Storage Gallery is pleased to announce the upcoming exhibition Mostly Stripes: Assemblages and Collages featuring Madison Artist Kevin Henkes.
Kim Storage Gallery is pleased to present Mostly Stripes – Assemblages and Collages, a solo exhibition featuring a striking body of paper collages and wooden box assemblages by acclaimed artist and author Kevin Henkes. In this exhibition, stripes emerge as a recurring visual language—sometimes bold and rhythmic, other times subtle and understated. Whether appearing as cut paper elements in collages or as linear structures within wooden box assemblages, stripes anchor Henkes’s explorations of space, repetition, and variation. The title Mostly Stripes reflects both the prevalence of this motif across the works and the artist’s playful acknowledgement of its quiet insistence.
Known internationally for his award-winning career as a children’s book author and illustrator, Henkes here extends his visual practice into new material realms. His collages, assembled from cut and layered papers, embody a delicate interplay of line, shape, and color. The wooden box constructions, by contrast, explore depth, texture, and spatial composition, creating intimate environments that feel at once playful and contemplative.
Drawing upon a lifetime of storytelling through images and words, Henkes’s fine art reflects the same clarity, restraint, and emotional resonance that distinguish his books. Influences range from modernist abstraction and collage traditions to the narrative sensibility honed across more than four decades of bookmaking. Together, these works offer a glimpse
into the artist’s evolving exploration of form, material, and imagination.
Kevin Henkes is the celebrated creator of over fifty books for young readers, spanning picture books, beginning readers, and novels. He is the recipient of the Caldecott Medal for Kitten’s First Full Moon and a Newbery Honor for Olive’s Ocean, among numerous other distinctions including Caldecott Honors, Geisel Honors, and the Children’s Literature Legacy Award. His work has been translated into many languages and cherished by generations of readers worldwide.
Beyond his literary acclaim, Henkes has long pursued drawing and painting as part of his daily practice. His collages and assemblages—now presented publicly in this exhibition—extend that visual language into a new and surprising register.
He lives in Madison, Wisconsin with his wife, Laura Dronzek, a renowned artist and illustrator.
Image: Cathedral, Mixed Media, 9 x 6.75 x 2.5\"
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Her oil paintings reverently explore nature. Hall’s animal subjects —often deer, birds, rabbits, and other woodland creatures — are rendered with the gravity and presence of portraiture. Sometimes a human figure joins the animal in quiet communion. A lace or crochet pattern runs throughout many of her pieces, veiling the subject to create a dreamlike atmosphere while also suggesting a delicate connection. Hall’s work is informed by meditations on coexistence, vulnerability, and the powerful harmonies that sustain the natural world.
Susan Hall was born in Ann Arbor, Michigan, and has been a Chicago area resident since 1993. She has exhibited her work throughout the United States, including shows at Lyonswier Packer Gallery in New York City, Thomas Masters Gallery in Chicago, and Butters Gallery in Portland, Oregon. Her honors include an Illinois Arts Council grant, a Georgia Council for the Arts grant, and Best in Show at the Chicago Anti-Cruelty Society's Animal Images exhibition juried by Ed Paschke. Hall received her MFA from the University of Georgia and her BA from Connecticut College.
Image: Watcher, Oil on panel, 43 x 48”
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While the snack shop concept never came to fruition, the paintings in this exhibition are the first pieces that occupied that never-to-be retail space. Intimate and episodic, they offer entry points rather than resolutions, inviting viewers into a world that sits somewhere between necessity and indulgence. Like little snacks, these works provide sustenance in
quieter ways—not essential, yet deeply nourishing.
Snack Shop names both the space and practice as it almost was, honoring the conditions in which the work was made: adaptive, provisional, and hopeful. The paintings retain their inherent dreamlike and atmospheric qualities, yet the exhibition grounds them in the real economies and lived decisions of making art today—a reflection on vulnerability, resilience, and the creative impulse that persists even in uncertainty.
Gabrielle Stone (b. 1990) is a contemporary abstract painter based in Chicago, IL. Her work explores the nature of place using color, form, and materiality to depict environments that are whimsical in their reimagining. Influenced by her deep attachment to physical spaces, Stone’s paintings communicate geometry and structure while embodying its very dissolution.
Stone holds a Bachelor of Arts in studio art and creative writing from Carleton College where she studied under artists Fred Hagstrom and David Lefkowitz, art historian Ross Elfline, and curator Margaret Pezalla-Granlund. The late artist, Larry McKim, was also a significant mentor in her early years before leaving the east coast.
On view: February 27 – April 10, 2026
Opening Reception: Friday, February 27 from 5 to 8PM
Image: Sound of Satin, Acrylic on canvas, 60 x 46”
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207 E Buffalo St, Suite 404, Milwaukee, WI 53202 (Marshall Building, 4th floor)
Kim Storage Gallery is pleased to present Reflections and Undercurrents, a solo exhibition of new paintings by Katherine Steichen Rosing that immerses viewers in the invisible forces shaping forests and watersheds amid climate disruption. Rosing’s work reveals both the resilience and fragile balance of ecosystems under stress, asking what persists—and what quietly disappears—beneath the surface of the landscapes we love.
In this body of work, she abstracts hidden ecological processes into vividly hued, densely layered surfaces, merging the visible and invisible through inscribed marks that are later veiled by color, like root systems and currents we cannot fully see. Reflections and Undercurrents introduces submerged forests of yellow-green trunks rising through ultramarine floodwaters, holding the tension between visual allure and the unsettling question of whether we witness temporary inundation or irreversible transformation.
Grounded in long-term observation, environmental research, and collaborations with scientists, Rosing’s practice addresses extreme weather cycles—drought, deluge, and intensifying storms—that leave forests stressed and vulnerable, from local neighborhoods to distant northern ecosystems. She understands painting as a way to convey the felt experience of environmental change, creating a contemplative space where beauty and unease coexist and where subtle shifts in color, light, and texture echo broader ecological transformations.
Born in Appleton, Wisconsin, Rosing is known for environmentally engaged paintings and immersive installations exploring relationships among forests, watersheds, and climate. She has exhibited in over one hundred solo and group shows in museums and galleries, including the Rockford Art Museum, Amos Eno Gallery (New York), the Arts Club (Washington, DC), and the Museum of Wisconsin Art. Her work is held in numerous public and private collections, and she holds an MFA from Northern Illinois University. She received the 2022 Forward Art Prize.
Image: Blue Damselflies Flitting About My Kayak, Acrylic on canvas, 44 x 55\"
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What does color feel like? In the hands of the artists gathered for Color Play, it feels like memory, motion, celebration, and wonder. Kim Storage Gallery is proud to present this vibrant group exhibition featuring the work of Poppy Dodge, Megan Woodard Johnson, Kathleen Waterloo, and Gretchen Warsen—four artists united by an unapologetic devotion to color as a primary language of expression.
Across wildly different materials and methods, each artist approaches color not as decoration but as the very subject of their work. Poppy Dodge, a self-described Color Maximalist working in Sonoma County, California, builds richly layered abstractions inspired by improvisational quilting and collage—stacking shapes and hues into what she calls “playful color conversations” that stitch together a life’s worth of experience. Megan
Woodard Johnson, a Milwaukee-based mixed media painter, layers paint and expressive drawn line with found ephemera—vintage ledgers, packaging, handwritten records—to map the beautiful, layered complexity of everyday moments. Her work captures how small, ordinary joys quietly accumulate into a life, and how color can carry the full weight of memory and mood. Kathleen Waterloo brings a uniquely architectural sensibility to the group: a former interior architect turned encaustic painter, she transforms aerial views, street maps, and structural blueprints into luminous abstract compositions rendered in molten wax and pigment. And Gretchen Warsen, working on a large scale in her studio, builds paintings through accumulation and intuition—layering opaque acrylic color, drawn line, and translucent fields while drawing inspiration from interior design, children’s illustration, and the eternal freshness of flowers. Her titles, arrived at through reflection and conversation with her daughters, serve as gentle invitations into each work’s emotional world.
Together, these four artists make a compelling case that color is never neutral—it carries feeling, triggers memory, and opens dialogue between artist and viewer. Color Play invites visitors to slow down, look closely, and let color do what it does best: surprise, delight, and connect us to one another
Artist Talks: Saturday, July 18 at 1 PM RSVP
Kim Storage Gallery is pleased to present Mythologies, a solo exhibition of new oil paintings by Tim Anderson, on view August 21 through September 26, 2026.
The works draw on a lifetime of research into world mythology — the ancient, the obscure, and the enduring — tracing the stories that have shaped human culture across every civilization since the beginning of recorded time, and long before.
Mythology is not a relic. It lives on in literature, graphic novels, and film — in every retelling of the eternal struggle between good and evil, love and fear. What Anderson finds so compelling is not the differences between these stories across cultures, but their profound similarities. The names and faces change; the essential human truths beneath them do not.
The works in Mythologies also sit with a deeper silence: the knowledge that the vast majority of cultures and civilizations that have existed on this earth left behind little that survives. Their stories, their wisdom, their ways of making meaning are largely gone. Against that absence, mythology functions as a thread of continuity — connecting what we know to what has been lost, and asking what it means that the same stories keep returning.
Image: Tim Anderson, Aphrodite, Oil on canvas, 40 x 30”
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The works draw on a lifetime of research into world mythology — the ancient, the obscure, and the enduring — tracing the stories that have shaped human culture across every civilization since the beginning of recorded time, and long before. Mythology is not a relic. It lives on in literature, graphic novels, and film — in every retelling of the eternal struggle between good and evil, love and fear. What Anderson finds so compelling is not the differences between these stories across cultures, but their profound similarities. The names and faces change; the essential human truths beneath them do not. The works in Mythologies also sit with a deeper silence: the knowledge that the vast majority of cultures and civilizations that have existed on this earth left behind little that survives. Their stories, their wisdom, their ways of making meaning are largely gone. Against that absence, mythology functions as a thread of continuity — connecting what we know to what has been lost, and asking what it means that the same stories keep returning.
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