Chicago History Museum

To mark the centennial of the establishment of U.S. Route 66, Jojo Galvan Mora, CHM Digital Humanities Curator, gives a brief history of the “Mother Road.”

The battery-powered friendship torch of the Pan American Games is carried north toward Chicago by Boy Scouts along Route 66, 1959. ST-17500161-E1, Chicago Sun-Times collection, CHM

November 11, 2026, marks the 100thth anniversary of the establishment of U.S. Highway 66, widely referred to as Route 66. Route 66 is a highly well-known, reported on, and mythologized roadway. When it was fully operational, it stretched roughly 2,400 miles starting in Chicago’s Loop and extending all the way to the shores of the Pacific Ocean in Santa Monica, California. Route 66 itself represents the golden age of the American automobile industry, and the travel culture it subsequently birthed. Despite its official decommission in 1985, the collective memory around the highway has also served to capture the aspirations and anxieties, and the creation of emblematic cultural movements, of an entire generation of Americans, providing historians with a powerful tool to better understand not just local stories, but transcontinental narratives.

The Ford Motor Company hosts an event to celebrate 50 years of assembling vehicles in Chicago, March 19, 1964. A 1924 Model T rolls off the assembly line to recognize 40 years of manufacturing at the 12600 South Torrence Avenue plant. ST-20003087-0001, Chicago Sun-Times collection, CHM

Route 66 served an important role when it was established by the Bureau of Public Roads in 1926: it brought together a disjointed system of state and national roads under a single name, making it easier for crosscountry motorists to plan trips, for businesses (and eventually government agencies) to ship goods, and for businesses to promote their offerings, whether that be food, lodging, or local attractions. What began in the 1920s and ’30s as a project designed to standardize the expanding roadway system in the United States became a cultural behemoth by the 1940s and ’50s as personal vehicle ownership exploded after World War II.

Mayor Richard J. Daley and other city, state, and federal officials at ribbon cutting and opening ceremony for the Southwest Expressway (I-55, later Stevenson Expressway), at Damen Avenue interchange, Chicago, October 24, 1964. ST-11005198-0004, Chicago Sun-Times collection, CHM

Nonetheless, the spirit of the mother road remains alive and well through American pop culture in movies, music, and tourism. Author John Steinbeck named Route 66 “The Mother Road” in The Grapes of Wrath, while Jack Kerouac’s storytelling in On the Road defined it as a counterculture movement. Bobby Troup’s “Route 66,” sung by Nat King Cole reached the top of the charts when it was released in 1946. It has since been covered by other artists such as Chuck Berry and the Rolling Stones. Other songs that draw from the road’s legacy include Bruce Springsteen’s “Cadillac Ranch” (1980) and “Take it Easy” (1972) by the Eagles. On the silver screen, the accolades are just as numerous. In 1960, CBS produced a four-season-long show simply called Route 66 that followed two young men in a Chevrolet Corvette as they traversed the highway in pursuit of themselves and adventure. Stretches and landmarks along the road also appear in films like Easy Rider (1969), Rain Man (1988), Little Miss Sunshine (2006), and RV (2006). The year 2006 was great for Route 66. Apart from the aforementioned films (the former even featured the late Robin Williams), an entirely new global generation would be reintroduced the history of the “Mother Road,” through Disney’s release of Cars, a global phenomenon directly inspired by the golden age of American car culture, grossing over $485 million worldwide.

A Route 66 sign at Adams Street and Wabash Avenue covered with stickers, Chicago, 2026. Photograph by Jojo Galvan Mora

Many stretches of the highway have been conserved through independent initiatives and organizations, including a preservation program administered by the National Parks Service dedicated to maintaining the roadway’s important legacy and culture alive. Illinois motorists interested in showing their support for this history have the option of purchasing special Route 66 license plates, which provide a portion of every plate renewal fee to the Illinois Route 66 Heritage Project Fund.

Additional Resources

“The Mother Road Trip: Route 66 History and Activities,” Library of Congress, July 29, 2022
“Route 66: The Writing of an American Icon,” American Writers Museum, February 18, 2026

The United States began with certain freedoms outlined in the Declaration of Independence and the Constitution, but the framers didn’t have the last word. Over time, people have shaped freedom through civic action, service, innovation, and advocacy. In demanding their freedom and creating change, various communities chose to unite, speak out, struggle, and defend.

This exhibition uses images, artifacts, and interactive elements to explore eight familiar and not-so-familiar stories in Chicago’s and the nation’s past and asks the question: What can we do for freedom?

The learning guide features instructional strategies and activities that could be used before, during, and after a field trip visit. If a field trip is not possible, activities can also be used with our Facing Freedom website. Activities are standards aligned and student-facing materials are available in English and Spanish.

Download the full Facing Freedom Learning Guide. This PDF includes all teacher information and instructions and all student activities.

To print out student materials individually, expand for more.

Facing Freedom Graphic Organizers

These can be used during a field trip visit or with the Facing Freedom website.

Action Words Definition Sheet

This defines the four action words and includes brief summaries of what this might look like in real life.

Action Words Definition Sheet (PDF)

Facing Freedom Exhibition Team

This activity invites students to take on the role of curators and exhibition designers to add their own social justice issue or movement to the exhibition. The Planner guides students through questions to determine what would represent their addition, and the Exhibition Case can be used to draw out their display.

Spread the Word with Protest Signs

This extension activity invites students to consider a social justice movement or event they care about and create a poster for it. If unable to make actual signs, this PDF download has a worksheet-sized template (coming soon!) that can be used instead.

Museum will host a free screening of “Making Waves: Battle for the Great Lakes,” exploring the impact of aquatic invasive species, on Nov. 14

CHICAGO (November 5, 2026) – The Chicago History Museum is proud to conclude this year’s Dave Truitt Historical Documentary Series with a free screening of the Emmy Award-winning documentary “Making Waves: Battle for the Great Lakes” at 12:30 p.m. on Saturday, Nov. 14, 2026, at the Chicago History Museum. Narrated by legendary anchorman Bill Kurtis, “Making Waves” explores the impacts of aquatic invasive species in the Great Lakes and the efforts underway to control and prevent them. A panel discussion with the filmmakers and experts from the film will immediately follow the screening. An RSVP is required to attend the event.

“Making Waves” takes viewers below the surface of one of the world’s largest freshwater ecosystem and into the middle of a complex fight for survival. For more than a century, non-native species of plants, fish, invertebrates and microscopic organisms have been silently invading the Great Lakes. These invasive species are transforming the ecosystem from top to bottom, pushing some native species to the brink of extinction, threatening ecological diversity and costing the region hundreds of millions of dollars in control costs and lost revenue annually. “Making Waves” chronicles the path of this invasion, joining researchers on the front lines as they combat invasives and work to restore native species in an effort to prevent a biological takeover of the Great Lakes.

Created by Chicago-area filmmakers Brendan and Jessica Walsh of Great Lakes Media & Film, the feature-length documentary premiered on Chicago PBS station WTTW in September 2016 and has since aired on PBS stations in 11 states, Ontario and Quebec, as well as screened as an Official Selection at eight U.S. film festivals. The film earned a 2017 Chicago/Midwest Emmy Award for Outstanding Achievement for Topical Documentary.

The need to help raise public awareness about invasive species to protect the Great Lakes was clear for the Walshes. The Great Lakes hold 20 percent of the planet’s surface freshwater and supply drinking water to over 40 million people. More than 35 million people call the region home, and the Great Lakes sustain a roughly $20 billion recreational fishery and boating industry that drives local economies. More than 180 invasive species are in the Great Lakes watershed, and new invasive species are always on the radar. The invasive silver carp is of special concern as it threatens to enter the Great Lakes via Lake Michigan. One of several invasive fish known as Asian carp, the filter-feeding silver carp could upset the Great Lakes food web and is known to leap out of the water with passing boats, creating a danger to boaters and anglers.

“Making Waves” weaves together the stories of scientists, fishermen and organizations around the Great Lakes to bring the effects of invasive species home for viewers and reveal what the average person can do to help.

“That has been our main goal with the film — to open people’s eyes to the issue and help make it real for them, hopefully inspiring them to do what they can to help prevent the spread or introduction of invasive species,” said “Making Waves” film producer Jessica Walsh. “Prevention is key to fighting invasive species, and education and public awareness are the first step. We aim to engage the public and start the conversation in a new way, through ‘Making Waves.’”

The screening of the documentary “Making Waves: Battle for the Great Lakes” is underwritten by the DAVE TRUITT Historical Documentary Series.

The post-film panel discussion will include filmmakers Brendan and Jessica Walsh; Philip Willink, PhD, Illinois Natural History Survey; Lindsay Chadderton, The Nature Conservancy; and Bruce Caruso, Perch America.

For more information, visit the Chicago History Museum’s event page here or contact Lauren Edstrom, Chicago History Museum Development Events Manager, at [email protected].

“Making Waves: Battle for the Great Lakes” is made possible in part by the Chicago Marine Heritage Society and its founding chairman, Captain Dave Truitt; The Nature Conservancy, with support from Fortune Brands Home & Security; and The BoatU.S. Foundation. “Making Waves” is fiscally sponsored by Chicago Filmmakers, a 501(c)3 organization.

For more information on “Making Waves,” visit www.makingwavesdocumentary.com.

Link to media kit.

Link to RSVP.

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ABOUT THE CHICAGO HISTORY MUSEUM

The Chicago History Museum is situated on ancestral homelands of the Potawatomi people, who cared for the land until forced out by non-Native settlers. Established in 1856, the Museum is located at 1601 N. Clark Street in Lincoln Park, its third location. A major museum and research center for Chicago and U.S. history, the Chicago History Museum strives to be a destination for learning, inspiration, and civic engagement. Through dynamic exhibitions, tours, publications, special events and programming, the Museum connects people to Chicago’s history and to each other. The Museum collects and preserves millions of artifacts, documents, and images to assist in sharing Chicago stories. The Museum gratefully acknowledges the support of the Chicago Park District on behalf of the people of Chicago.

To mark the 274th anniversary of George Washington being initiated into freemasonry, Heidi Samuelson, PhD, CHM Content Manager & Editor, writes about Washington’s history with the freemasons and an 18th-century masonic apron in the Museum’s collection.

George Washington (1732–99) is known for many things—a commander of the Continental Army, presider over the Constitutional Convention, and the first president of the United States. But he is also one of the most well-known freemasons in history.

Banner commemorating George Washington’s victory at Yorktown in 1781. Rachel Simon Louis, 1855. Charles F. Gunther Collection, CHM, ICHi-052658

At age 20, Washington was initiated into freemasonry as an Earned Apprentice in Fredericksburg, Virginia, on November 4, 1752. The exact date that Fredericksburg Lodge No. 4 was established isn’t known, but it is thought to be around 1735. However, it was only granted a formal charter by the Grand Lodge of Scotland in 1758. Washington passed to the Fellowcraft degree on March 3, 1753, and was raised to the Master Mason degree on August 4, 1753.

Washington was recommended for the office of Grand Master in 1777, but he either turned it down or was never offered, likely due to the on-going Revolution. However, he did serve as the charter Master of Alexandria Lodge No. 22 in 1788–89. And in 1789, he took his first oath of office on a Bible belonging to St. John’s Lodge No. 1 of New York. While there is some question as to how active Washington was in the masons, he did remain a member in good standing of Fredericksburg Lodge No. 4 until his death.

Washington depicted as a Freemason in this 1870 lithograph by Strobridge Company of Cincinnati, part of the Harry T. Peters “America on Stone” Lithography Collection, National Museum of American History. DL.60.2597

Freemasonry is a fraternal organization thought to have originated from the stonemasons guild in medieval Europe. There is evidence that the movement dates to the 15th century, with the first ceremonial regalia. However, by the 18th century, aristocrats and artists pushed out the craftsmen originally associated with it. English and French freemasons supported “Enlightenment-era” ideals of liberty, fraternity, and equality. The institution was known for advocating moral, intellectual, and spiritual self-improvement.

Masonry came to the Colonies with British settlers, with the earliest lodges being formed in Pennsylvania likely around 1715, though Boston’s St. John’s Lodge was the first lodge recognized by the Grand Lodge of England in 1732. The organization didn’t demand that members have a particular religious affiliation, but rather a belief in “the Supreme Architect of the Universe.” Masons believed in following moral law, as well as the liberal principles of truth and justice.

James Henry Heron’s account of the “Mother Lodge of George Washington” describes him as follows: “He was a Man’s Man!—a Soldier!—a Statesman—a Planter—a Diplomat, and a thinker of great and noble thoughts. He had strong feelings for his home—for his mother—for the soil, and for truth and principle in every action. He also had a depth of religious spirit that few could fathom, so it was natural for him to turn to Masonry [to] intensify his spiritual strength.”

Among the freemasonry objects in CHM’s Charles F. Gunther Collection is an apron thought to be from the 1750s. Though it was claimed to have belonged to George Washington, there is no evidence to support a specific owner. However, it is still an excellent piece from the era, and Washington likely had a masonic apron at the time. Masons wear aprons while at their lodges, and the practice reflects stonemasons’ protective leather work aprons.

Front view of a masonic apron, c. 1750. CHM, ICHi-186882

This particular apron is made of white kid or lambskin leather, with the edges bound in white grosgrain with blue thread and two white leather straps. The rounded flap has a masonic symbol—the compass over the builder’s square—in appliqued grosgrain. Derived from the working tools of stonemasons, the square symbolizes morality, or being “square” in your duties and actions, and the compass symbolizes self-restraint required to live a balanced life.

Back view of a masonic apron, c. 1750. Note the lack of a signature, which would normally identify the owner of a masonic apron. CHM, ICHi-186883

Around 1750, Masonic aprons were transitioning from plain, unadorned white lambskin to decorated, often hand-painted, garments. This reflects the period, during which there were no universal regulations, so members personalized or localized their aprons. The symbols they chose often reflected the degree they had attained within the organization. The square and the compass were common, but they weren’t standardized to the current symbol of the masons you might know today.

The masonic apron on display in Threads of a Nation: Preserving Presidential Clothing. To help preserve the object by reducing its exposure to light, it will go off display at the end of February 2027 and be replaced by another artifact.

The apron was examined by conservators and found to be in good enough condition to be displayed flat, mounted on a padded fabric-covered board. The grosgrain ribbon around the apron is particularly fragile from age and exposure to light. It was likely originally blue in color. The apron straps were twisted and distorted from use and appear to have been restitched where they join at top corners of the apron.

Additional Resources

See the apron in our exhibition Threads of a Nation: Preserving Presidential Clothing, which is open now through July 18, 2027
Peruse items related to freemasonry in our research collection, available at the Abakanowicz Research Center
Watch “The History of Freemasonry in Chicago,” Ask Geoffrey, WTTW, November 2, 2016

A longstanding partner of the Chicago LGBT Hall of Fame, the Chicago History Museum is proud to host a free induction ceremony open to the public on Nov. 5, 2026

CHICAGO (October 29, 2026) – The Chicago History Museum will host the Annual Chicago LGBT Hall of Fame Induction Ceremony on Thursday, Nov. 5, 2026, at 5:30 p.m. The Chicago LGBT Hall of Fame, the only city-sanctioned LGBT Hall of Fame, will welcome 13 LGBT-identified individuals, two LGBT-identified organizations and three friends of the community or allies. The event will take place at the Chicago History Museum, 1601 N. Clark St., Chicago, and is free and open to the public. Pre-registration is requested and available at chicagolgbthalloffame.org/RSVP/.

“The Chicago History Museum is proud to host the 2026 Chicago LGBT Hall of Fame Induction Ceremony,” said Michael Anderson, Edgar D. and Deborah R. Jannotta President & CEO of the Chicago History Museum. “Our mission is to tell Chicago’s stories in all its diversity, and this year’s inductees have shaped that story through their staunch support, leadership and activism. We congratulate each of them and thank everyone who works to keep this wonderful tradition alive and strong.”

According to the Chicago LGBT Hall of Fame, the 2026 inductees include:

Individuals

Bradley Balof, who has strengthened Chicago’s LGBTQ+ community for more than 24 years by supporting cultural events and storytelling, raising over $1 million for Center on Halsted, stewarding the Northalsted Business Alliance, and leading major celebrations that foster belonging, visibility and community investment.
Pat Cummings, who has advanced Chicago’s LGBTQ+ community through decades of activism, volunteer service, advocacy and photography documenting and preserving its history.
David Dodd, who has advanced Chicago’s LGBTQ+ community—particularly Black LGBTQ+ people—through advocacy, HIV/AIDS education, mentorship, communications leadership and the production of more than 500 affirming events and two decades, fostering visibility, opportunity, connection and cultural pride.
Maya Douglas, who has advanced LGBTQ+ visibility through four decades of nationally recognized performance, judging, mentorship, and media appearances, while supporting Chicago’s community through fundraising, creative work and ongoing contributions to Dance Divas benefiting the Chicago Dance Health Fund.
Coquie Hughes, who advances LGBTQ+ visibility, access, mentorship and participation through award-winning filmmaking, youth training, accessible smartphone-filmmaking education, media innovation, community service and national creative leadership.
Saundra DeAnne Johnson, who advanced LGBTQ rights and health by helping secure LGBTQ inclusion in Chicago’s Bud Billiken Parade, co-founding ACT UP Chicago’s Women’s Caucus, advocating for Black communities and women living with HIV/AIDS, helping establish an AIDS ward for women and providing case management, food support and compassionate care to people affected by HIV/AIDS. (Posthumous Induction).
Simone Koehlinger, has strengthened LGBTQ+ health in Chicago for over three decades by expanding HIV prevention, testing, treatment, housing, mental health and supportive services; advancing culturally responsive public health; and building collaborative systems that have helped thousands access care, achieve viral suppression and improve their quality of life.
Ray J. Koenig III, who has advanced Chicago’s LGBTQ+ community through marriage-equality advocacy, leadership at Chicago House, anti-discrimination public service and historic visibility as the first openly LGBTQ+ president of The Chicago Bar Association.
Mimi Marks, who has advanced LGBTQ+ visibility and community life through celebrated performances, international transgender pageant achievements, advocacy for transgender equality and HIV/AIDS fundraising and awareness.
Angelique Munro, has strengthened Chicago’s LGBTQ+ community for over 30 years by fundraising for HIV/AIDS and LGBTQ+ organizations, creating opportunities for LGBTQ+ performers, educating future professionals about transgender-affirming care and advancing transgender visibility through advocacy, employment and media.
Alderman Lamont J. Robinson, an openly gay Black elected official, who has advanced LGBTQ+ visibility and equality, mentored emerging leaders and supported more inclusive access to healthcare, education, housing, economic opportunity and public safety for Chicago’s marginalized communities.
Marshall Titus, who has advanced LGBTQ+ visibility as a Black gay soul artist, using his music video “I Will” for TPAN’s A Day with HIV campaign to challenge HIV stigma and promote testing, disclosure and openly expressed love.
Michelle Wetzel, who has advanced LGBTQI rights and wellbeing through decades of HIV/AIDS advocacy, legal defense, supportive housing, healthcare access—including gender-affirming care—and organizational leadership, while strengthening LGBTQI community services and visibility through education, partnerships and Lakeside Pride Music Ensembles.

Organizations

ADODI Chicago, which advances the well-being, visibility, connection and health of Black same-gender-loving men through support groups, social and artistic programs, sexual-health education and HIV support.
Hell in a Handbag Productions, which has advanced Chicago’s LGBTQ+ community for 25 years by creating opportunities for queer artists, celebrating queer camp and self-expression, fostering inclusive community through theater and raising over $100,000 for LGBTQ+ nonprofits.

Friends of the Community

Brad Cummings, who uplifted Austin’s West Side and the LGBTQ+ community through his stewardship of the Austin Voice, HIV/AIDS awareness efforts, founding of the Austin AIDS Planning Coalition (later WHARP) and support for Pathfinders Prevention & Education Fund and allied organizations. (Posthumous induction).
Sharyl Holtzman, who has advanced Chicago’s LGBTQ and HIV/AIDS communities through direct aid, fundraising, event production, activism, memorial work, advocacy and preserving the legacies of community leaders.
Rev. Dr. L. Bernard Jakes, who fosters an affirming, safe and welcoming church community for LGBTQIA people; promotes HIV testing and combats stigma; supports people living with HIV/AIDS; and provides clothing, food, and other assistance to displaced and unhoused LGBTQIA youth and adults.

According to the Chicago LGBT Hall of Fame, it is the only city-sanctioned LGBT Hall of Fame in the world and was founded in 1991 to honor Chicago’s people and entities, nominated by the community, who have made significant contributions to the quality of life or well-being of the LGBT community and the city of Chicago. The first Chicago Gay & Lesbian Hall of Fame ceremony took place during Pride Week 1991 at Chicago City Hall. Then-mayor Richard M. Daley hosted the ceremony, and photos of the inductees were later displayed in City Hall. Learn more about the Chicago LGBT Hall of Fame at chicagolgbthalloffame.org.

A longstanding partner to the Chicago LGBT Hall of Fame, the Chicago History Museum has documented and shared LGBTQIA+ history for more than two decades. In 2003, the Museum launched OUT at CHM, a public program series on Chicago’s LGBTQIA+ history. That work eventually led to an exhibition, “Out in Chicago: LGBT History at the Crossroads,” which was open from May 2011 to March 2012. The exhibition received the Allan Bérubé Prize from the Committee on Lesbian, Gay, Bisexual, and Transgender History before it closed in March 2012.

The Chicago History Museum’s collections preserve this rich history for researchers and the public. The Lee A. Newell II photograph collection, donated in 1997, holds roughly 13,000 photographic prints and negatives documenting Chicago’s LGBTQIA+ nightlife and activism in the 1980s and 1990s, and can be accessed at the Museum’s Abakanowicz Research Center. Online, the Chicago History Museum’s LGBTQIA+ History in Chicago hub features a host of digital and in-person Museum resources, including Studs Terkel Radio Archive: LGBTQ Culture & Rights and more information on exhibitions and past programs, as well as the LGBTQIA+ Studies LibGuide, a guide intended to aid research relating to LGBTQIA+ individuals and history. Additionally, in 2024, the Museum partnered with the Gerber/Hart Library and Archives to mark the centennial of Henry Gerber’s Society for Human Rights with an OUT at CHM event. Currently on view, the Gay Liberation Movement of the 1960s and ’70s is highlighted in the Museum’s exhibition “Designing for Change: Chicago Protest Art of the 1960s-70s.”

The Hall of Fame itself recognized the Chicago History Museum in 2010 for decades of preserving LGBT historical documents and artifacts and for OUT at CHM, and the Museum has hosted the induction ceremony for many years.

For questions about event logistics, please contact Lauren Edstrom, Chicago History Museum Development Events Manager, at [email protected]. For any press-related questions or if you’d like to cover the event, please contact Emily Miller, Public Communications Manager, at [email protected].

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ABOUT THE CHICAGO HISTORY MUSEUM

For National Immigrants Day, Jojo Galvan Mora, CHM Digital Humanities Curator, writes about braceros—workers from Mexico who came to the United States as part of a temporary labor initiative from 1942 to 1964 to be employed in the US agricultural and railroad industries.

Since its inception, the Bracero Program, has fascinated scholars across several disciplines. Originally titled the Mexican Farm Labor Agreement, the program started through an executive order in 1942 to solve worker shortages brought on by the deployment of men to fight in World War II. The Bracero Program is the largest guest worker program in US history, having brought in more than 4.5 million workers primarily for agricultural work, later expanding the program to allow for work on the American railway system. This massive undertaking was overseen through a collaboration between federal agencies in both the US and Mexico and remained in existence until 1964, thanks to the passage of ongoing federal legislation amid interest in continuing the ongoing supply of cheap labor the program afforded to US companies.

Three Mexican men crouch in the back of a truck to demonstrate how they traveled to Chicago from Texas safely, Chicago, June 12, 1948. ST-17600004-E1, Chicago Sun-Times collection, CHM

Despite contracts outlining promises of adequate food, shelter, and a minimum pay of 30 cents an hour, the reality of being a bracero was often far more difficult. Upon arrival to the US border, participants would be stripped of their clothing and would have to undergo invasive medical examinations that often included being sprayed with toxic chemicals like DDT before being shipped off inside cattle cars or trailer trucks to their work destinations, sometimes hundreds or thousands of miles away from the border. While the program got off to a slow start, according to research by historian Mae Ngai, by 1948 until its end in 1964, the program admitted an average of 200,000 workers per year. Many of them arrived in Chicago to lay down railroad tracks, with a substantial portion of settling in the city, particularly on the Southeast Side, forming some of the city’s first predominantly Latino neighborhoods.

Couples holding babies awaiting to be baptized at Our Lady of Guadalupe Church, the city’s oldest Latino parish, Chicago, September 5, 1987. CHM, ICHi-039083; Antonio Perez, photographer

From the inception of the program until roughly 1949, every bracero working stateside had 10% of their pay docked from their pay check. The purpose behind this mandatory deduction was to reduce the likelihood of illegal overstays once employment contracts ended, as these funds were pooled and transferred from an American banking institution to a Mexican one, where the collected funds were supposed to be held insavings accounts under the names of individual workers. While the specific sum is unknown, it is widely accepted that at least $32 million ($446.6 million in today’s dollars adjusted for inflation using 1949 data as the base) were collected from these workers, with most participants unaware of this practice altogether. In 2001, a group of former braceros brought forward a class-action lawsuit in the Federal District Court in San Francisco, naming both the US and Mexican governments, as well as the involved banks, demanding their withheld wages be paid with interest. Despite popular support and a sympathetic judge, the suit was ultimately dismissed.

Guadalupe Morales is a former participant in the bracero program who now resides in Chicago Heights, Illinois, August 4, 2000. ST-10002469-0018, Chicago Sun-Times collection, CHM

Thanks to ongoing advocacy and public pressure, the Mexican government under President Vicente Fox agreed to pay the funds owed to the braceros, creating a $14.6 million fund that would award each claimant (or their descendants) $38,000 pesos (roughly $2,000 today) to all braceros who could prove “they worked in the braceros program between January 1, 1942 and December 31, 1946.”

In Chicago, Felipe Nava filed a successful lawsuit, releasing up to $2,000 per bracero. He is pictured here holding his Tarjeta de Identificación para Trabajadores Agricolas Mexicanos (Identification Card for Mexican Agricultural Workers), 2001. STM-000439426, Chicago Sun-Times photograph collection, CHM

Despite ongoing calls for the program’s renewal and for the reopening of claim processing, the allocation of more funds continues to be tangled up in political debate. It is unknown how many were able to successfully file claims and receive compensation. While grim, this story is just one example of the larger and infinitely more complex history of guest worker programs between the US and its neighboring countries.

In 1952, the Immigration and Nationality Act created the H-1 and H-2 visa program, enabling US employers to recruit and hire temporary foreign workers from outside the country to fill employment vacancies in both specialized and seasonal work positions. Since then, both programs have undergone significant reforms and expansions and continue to be an important part of the intertwined history of foreign relations, labor, and immigration in this country.

Additional Resources

Learn more about the history of the Bracero program by visiting Aquí en Chicago, which closes on November 8, 2026.
Read more in Mexican Workers in the United States: Historical and Political Perspectives available at the Abakanowicz Research Center

The temporary exhibition on Latino/a/e Chicago, inspired by a 2019 student protest, to close after a year on view

CHICAGO (October 21, 2026) – The Chicago History Museum will round out its temporary exhibition “Aquí en Chicago” with a Closing Program on Sunday, Nov. 8, 2026, from 12 to 4:30 p.m. Visitors are invited to say goodbye to the beloved exhibition with an afternoon of activities, tours, talks, performances, music and more, all included with general admission. The exhibition, which opened Oct. 25, 2025, celebrates 170 years of persistent Latino/a/e cultural presence in Chicago.

Students from Instituto Justice and Leadership Academy in Pilsen challenged the Museum in 2019 to better represent their communities’ stories. “Aquí en Chicago” is the project they inspired. The exhibition traces the lives of Latino/a/e communities that have flourished in Chicago and the surrounding suburbs through art, photographs, interviews, clothing, personal items, everyday objects and historical treasures.

Over the past year, visitors have seen over 700 objects, including protest signs from 2019, a paletero’s cart from Paletería Reina de Sabores and two quinceañera ensembles from Mi Quince World, as well as six murals by co-designer Cecilia Beaven. The exhibition is presented in both English and Spanish, and visitors are invited to be part of the history through the Digital Communities’ Scrapbook where they can upload their own images, adding their memories to a larger story of the people, places and events that form Chicago’s Latino/a/e history. The scrapbook will be available online after the exhibition closes.

“It has been a tremendous honor to tell these stories at this time in our shared history,” said Dr. Elena Gonzales, Chicago History Museum Curator of Civic Engagement & Social Justice and Lead Curator of “Aquí en Chicago.” “Sharing true stories is powerful. Representation in our civic space is part of social justice work. Our power is collective. Many thanks to every person who has supported Aquí, whether as an advisor, intern, lender, colleague, or visitor! ¡Muchísimas gracias!”

The exhibition was just one part of the larger “Aquí en Chicago” project, which also includes paid research internships, an oral history collection that includes recordings of Indigenous languages, interviews, community collections workshops, print and digital publications and much more. Programs and initiatives during the exhibition’s run included, but were not limited to:

“The Missing Exhibition: Building Aquí,” the Museum’s first podcast, a four-part series produced with Rivet360 that follows the student protest and the exhibition it inspired. It was named a finalist for “Best Podcast” at the Chicago Headline Club’s Peter Lisagor Awards.
Creation of the Community Advisory Committee and Community Awareness Council, groups made up of community leaders, educators, artists, and scholars, who help the Museum remain aware of communities within the Latino/a/e population of Chicago(land).
Commemorative Day for Latine Heritage Month in October 2026, including a day of learning, interactive activities and community connections.
Curator-led gallery tours and a Magellan Chamber Orchestra performance of pieces inspired by the exhibition.
Museum staff participated in and hosted tours for numerous conferences, including the Latinos in Heritage Conservation Congreso, the Association of Midwest Museums, American Studies Association and many more.

The Museum is planning a series of interventions in the decades-long running exhibition to demonstrate that change is coming with the eventual full renovation of the gallery. “Chicago: Crossroads of America” was the flagship exhibition that led the students to protest in 2019 when they found no Latino/a/e stories. The first intervention will be a new section featuring objects from “Aquí en Chicago.” More details will be shared as they are confirmed.

For more information on the exhibition, please visit the Chicago History Museum’s website at chicagohistory.org/aquienchicago. For any press-related questions or to schedule a press visit before the exhibition closes on November 8, please contact Emily Miller, Public Communications Manager, at [email protected].

MEDIA KIT AVAILABLE HERE: https://app.box.com/s/tke6g6tqtk5eg9qz30rv3iwzrhhvjg9x

On October 14, 1906, the Chicago White Sox defeated the Chicago Cubs in the first intracity World Series. In this blog post, CHM curatorial interns Abigail McGraw-Traster and Olivia Marr give a brief overview of the series and highlight items in the Museum’s collections. McGraw-Traster is a third-year undergraduate studying anthropology and linguistics at the University of Chicago. Marr is a fourth-year undergraduate studying American popular culture and public history at DePaul University.

On October 9, 1906, thousands of “rooters” flocked to the Chicago Cubs’ West Side Grounds to watch the “Hitless Wonders” Chicago White Sox take on the record-breaking Cubs in the World Series. This Fall Classic featured the first ever intracity match up and the only one in the city’s history. Chicago became, according to sportswriter Hugh Fullerton, the “baseball center of the earth.”

The Cubs expected a massive crowd, but the weather didn’t cooperate. Some rooters wore bearskin coats as protection against frigid winds and snow flurries. Thousands more piled into the Auditorium Theatre in the Loop and the First Regiment Armory on the Near South Side, where the Chicago Tribune hosted telegraphed recreations of the game. Attendants reconstructed the play-by-play, moving player names across a large baseball diamond.

The 1906 Chicago Cubs team photograph from Sox and Cubs by W. A. Phelon, GV875.C2 P5. Photograph by Abigail McGraw-Traster and Olivia Marr

The highly favored Cubs put up 116 wins during the regular season, still the highest winning percentage in modern major league history at .763 (with a final record of 116–36–3). The Cubs star pitcher, Mordecai “Three Finger” Brown, boasted an ERA of just 1.04 and a formidable curveball. The Cubs also had an excellent defensive infield. Their double play combination, Tinker to Evers to Chance, was not yet made famous by the 1910 poem “Baseball’s Sad Lexicon,” but Cubs fans were certainly aware of this stellar trio. Eventually, Frank Chance, Johnny Evers, and Joe Tinker were all inducted into the Baseball Hall of Fame.

Cubs pitcher Mordecai “Three Finger” Brown, West Side Grounds, 912 S. Wood St., Chicago, 1909. SDN-055782, Chicago Daily News collection, CHM

The White Sox, on the other hand, were a big underdog in the series. At the end of July, they were in fourth place in the American League. However, with their remarkable pitching staff featuring Frank Owen and future Hall of Famer Ed Walsh, they managed to turn it around in August with a 19-game winning streak, setting a record for the major leagues that would stand for the next decade. Outstanding player-manager Fielder Jones kept the team together through success and adversity.

The 1906 Chicago White Sox team photograph from Sox and Cubs by W. A. Phelon, GV875.C2 P5. Sox owner Charles A. Comiskey stands in the middle of the back row. Photograph by McGraw-Traster and Marr

By the late afternoon of October 9, the Sox had proved they could hold their own against the Cubs, defeating them 2–1. The Cubs demolished the Sox in Game Two 7–1 amid more snow flurries and below-freezing temperatures. Only 12,595 rooters shivered at the Sox home field, South Side Park, to watch this contest. Game Three went 3–0 with the Sox winning. In this contest, Sox batter Ed Hahn took a pitch directly in the face, breaking his nose. To assist Hahn, the umpire called in two rooters from the stands who happened to be doctors.

An undated baseball card featuring Chicago White Sox pitcher Ed Walsh. Famous for his spitball that one opponent claimed seemed to “disintegrate on the way to the plate,” Walsh won both of his starts in the 1906 World Series. Photograph by McGraw-Traster and Marr

Game Four at South Side Park evened the series at two games apiece with the Cubs winning 1–0. The Sox surged ahead once again in Game Five, emerging victorious 8–6. At this point, with the Sox ahead three games to two in the seven-game series, nearly everyone in town was talking about the ongoing matchup. However, Chicago Tribune editors deemed one man’s lack of knowledge of the World Series shocking enough to deserve a two-page spread. Ulrich Schulte, a 35-year-old German immigrant grocer, received the moniker “the most unusual man in Chicago, perhaps the freakiest man in America.” To the journalist’s surprise, Schulte reportedly did not know anything about the World Series, the Sox, the Cubs, or baseball.

The Chicago Cubs’ West Side Grounds, Chicago, 1906. SDN-004890, Chicago Daily News collection, CHM

On the day of Game Six, rooters began lining up hours ahead of the scheduled 2:30 p.m. first pitch. According to one report, the first ticket buyer arrived at South Side Park at 2:00 a.m. When the gates finally opened at noon, 19,249 rooters rushed inside while thousands were left outside. By 12:30 p.m., the gates closed because the stadium had already reached capacity, two hours before the first pitch was scheduled to be thrown. Chicago police controlled the throngs outside, as they pushed against the wooden fences trying to force their way into the ballpark.

Two men lead a bear cub past third base, West Side Grounds, Chicago, 1906. At Game 6, two bear cubs were brought from the Lincoln Park Zoo and another two from Riverview Park. SDN-052235, Chicago Daily News collection, CHM

Four live bear cubs attended the game. Some rooters inside the park shouted play-by-play updates to those still waiting outside. One man climbed a tall pole to watch the game and recounted each play via megaphone to the rest of the crowd. The White Sox took the lead in the first inning, increased it in the second, and maintained it throughout the rest of the game, ultimately winning 8–3, taking the World Series 4 games to 2.

The White Sox World Series victory parade in the Loop, Chicago, 1906. SDN-005845, Chicago Daily News collection, CHM

White Sox rooters celebrate the raising of the 1906 World Series banner, South Side Park, Chicago, 1907. SDN-005857, Chicago Daily News collection, CHM

While the White Sox and their rooters celebrated the team’s first World Series title, some reporters hastened to find Cubs owner Charles Murphy for a comment. In response to his team’s loss, Murphy proclaimed, “I am for Chicago and will say that Chicago has the two best ball teams in the world . . . Chicago people should be proud of both their clubs. Three cheers for the White Sox!”

Chicago Cubs reception and banquet program, October 16, 1906. Despite losing the World Series, the Cubs celebrated their National League pennant with a banquet featuring chicken okra creole, whitefish fleurette, tutti frutti ice cream, and post-dinner cigars. Miscellaneous pamphlets, etc., Chicago Cubs GV875 .C21z OVERSIZE. Photograph by McGraw-Traster and Marr

Additional Resources

Read more blog posts on baseball history
Chicago Cubs records 1873–1966, bulk 1873–-1893, available at the Abakanowicz Research Center (ARC)
Chicago White Sox collection 1913–1919, available at the ARC
Chicago White Sox and 1919 World Series baseball scandal collection 1917–1929, bulk 1920–1924, available at the ARC
Chicago Cubs image collection at CHM Images
Chicago White Sox image collection at CHM Images

The final installation of a four-part artistic exploration of America’s founding documents, Dorian Sylvain’s artwork serves as a response to the 13th Amendment

CHICAGO (October 6, 2026) – As part of its year-long “US at 250: Civic Action in Chicago” initiative, the Chicago History Museum unveiled the final of four rotating contemporary art installations responding to four important documents from U.S. history in the Museum’s collection: the Declaration of Independence, Northwest Ordinance, U.S. Constitution and the 13th Amendment.

The latest installation, Dorian Sylvain’s “We Weave Our Future,” explores the complex legacy of the 13th Amendment, which formally ended slavery outside prisons in 1865 and helped establish mass incarceration. Visitors will see patterns inspired by quilts made by enslaved people in the 18th and 19th centuries and be invited to contribute to the installation. The symbols on one quilt pattern represent hope and freedom, while the symbols on the other quilt pattern symbolize the chaos and uncertainty of the nation’s carceral state.

Sylvain’s artwork was co-designed by U.S. History and Civics students at Art in Motion Creative Arts Middle and High School and is paired with materials that show the history and impact of the John Howard Association, Illinois’s only independent citizen correctional oversight organization. In 1901, Illinois-based prison reformer Reverend Frank Emory Lyon founded the John Howard Association to support the state’s growing prison population, and today, it continues to monitor and report on prison conditions and treatment.

Completing the four-part artistic exploration of America’s founding documents and how they connect with Chicago’s long history of civic action, Sylvain’s work is on view in the Museum’s first-floor lobby now through January 3, 2027.

“This important national anniversary is a time for us to question, converse and connect about how we came to be where we are today as a country,” said Chicago History Museum Curator of Civic Engagement & Social Justice Elena Gonzales. “What systems affect our everyday lives? Are they working for all of us, and, if not, what can we do about that? The best celebration we can imagine at the 250th is the collaborative improvement of our imperfect democracy.”

“US at 250” is anchored in the Chicago History Museum’s collection materials relating to the United States’ founding and Chicago’s civic legacies. The project centers the city as a place of participatory action and the Museum as a space for making connections between past, present and future. It highlights stories of people coming together to fight for equality, inclusion and a voice in decisions that affect their lives.

As part of the “US at 250” initiative, these art installations explore the ongoing work of democracy throughout the nation’s complex history through letterpress prints, murals, altar monuments and interactive experiences. Each work is on display in the Museum’s lobby for three months.

“When art and history meet at the Museum, visitors see history differently and make connections to the present,” said Erica Griffin-Fabicon, Elizabeth F. Cheney Director of Education at the Chicago History Museum. This final installation moves visitors from observers into participants responding to history and sharing their capacity for civic involvement today.

The first installation, “Self-Evident: A Letterpress Exploration of the Declaration of Independence,” on view from January to March 2026, featured artist Vida Sačić, whose work explored the language and legacy of the nation’s founding ideals, inviting visitors to consider how the promises of the Declaration of Independence continue to resonate and be contested today.

From April to June 2026, artists Carlos Flores and Deon Reed presented “Porta(til),” a collaborative installation inspired by the Northwest Ordinance. Their work highlighted the Northwest Ordinance’s promises of freedom for formerly enslaved African Americans and land rights for Indigenous peoples, and reimagined its expansionist legacy through participatory, community-driven action.

Prior to this final installation, “The People, We Are: A Living Reflection on the U.S. Constitution,” by Barrett Keithley was on display from July to September 2026. Keithley, a local multi-disciplinary artist, cultural strategist and creative entrepreneur, created a mixed-media mural that visually and emotionally explored the impact of the U.S. Constitution and invited visitors to reflect on the living document that continues to shape and be shaped by the people it serves.

In addition to the responses by local artists, the broader “US at 250: Civic Action in Chicago” initiative includes updated stories and objects in the “Facing Freedom” exhibition, which reopened July 4, public and community engagement within and outside the Museum’s walls, Civic Circle discussions for teens and young adults, resources for grades 6–12 students and teachers, and conservation work and an exhibition, “Threads of a Nation: Preserving Presidential Clothing.”

Featuring an array of artifacts related to U.S. history, “Threads of a Nation” will open to the public on Saturday, October 24, 2026. The exhibition offers a glimpse into the conservation process of garments and accessories associated with several presidential figures, including John Adams, George and Martha Washington and Abraham and Mary Lincoln, alongside rare objects and documents that provide historical context.

For more information about “US at 250: Civic Action in Chicago,” visit chicagohistory.org/USat250 or contact Emily Miller, Public Communications Manager, at [email protected] or (312) 799-2161.

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Applications now open for music festival at the Museum, bringing the next generation of musicians to Chicago’s oldest cultural institution

CHICAGO (September 28, 2026) — The Chicago History Museum will host Rock the Museum, a music festival showcasing the talent and creativity of young musicians from across the Chicago area. Co-hosted by the Chicago History Museum and School of Rock, the festival will take place at the Museum in November, bringing emerging artists and talented young musicians to Chicago’s oldest cultural institution for a day of live music while raising funds for the Museum’s educational programs. Applications are free and now open to eligible artists.

Rock the Museum will showcase a range of styles and genres of rock music, featuring:

Emerging Artists performing original songs in 20-minute sets on the Main Stage;
Solo artists, duos or trios performing primarily original music in 20-minute sets on the Acoustic Stage; and
School of Rock House Bands performing sets on the Main Stage.

The Emerging Artist program, performed on the Main Stage, is open to full bands, solo artists and small groups ages 15–22 who write and perform original music and are based in Cook, DuPage or Lake counties in Illinois. The Acoustic Stage is open to solo artists, duos and trios ages 15–22 from the same counties who primarily share original music, with covers also welcome as part of their set. All styles and genres of rock music are welcome, provided the content is family-friendly.

Both the Main Stage and Acoustic Stage will be equipped with limited gear, and any additional equipment will need to be provided by the artist. All performers must be between the ages of 15–22. Applicants under the age of 18 may apply but must have the consent of a parent or legal guardian. Find more information in the application here: https://tinyurl.com/Rock-the-Museum-2026.

Applications are open through October 12, 2026, at 11:59 p.m. CT. Artists do not need to have an established fan base to apply and will be selected by a team of School of Rock faculty members and teen advisors. Submissions will be evaluated based on musicianship, songwriting and performance quality.

Rock the Museum reflects the Chicago History Museum’s ongoing mission to share and preserve the stories of Chicago and the people who shape its culture. By bringing young Chicago musicians to the city’s oldest cultural institution, the festival celebrates Chicago’s rich musical history while highlighting the artists who are helping shape its future.

Rock the Museum will take place on November 21, 2026, from 10 a.m. to 4:30 p.m. at the Chicago History Museum, 1601 N. Clark St. Additional details about performers and programming will be announced at a later date.

For more information or questions, please contact Crystal Johnson, Chicago Metro History Day Manager, at [email protected] for questions about the festival and artist applications, or Emily Miller, Public Communications Manager, at [email protected] for general press inquiries and media requests.

MEDIA KIT AVAILABLE HERE: https://app.box.com/s/22y8jwvrgdxx7dadfccy5wn8rq1wsyhv

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