Chicago Booth Magazine A Harper Art Walk

Start your art walk at Foreigners Everywhere, visible from the walkways on north side of the Winter Garden. Then, head toward Room 122 to find Untitled. In this five-work series, Grotjahn illustrates the nature of risk in business—a point he made by taking the value of the commission and gambling it at a casino over five days. Each piece is a representation of one day's winnings or losings. Ponder just how diversified your portfolio is, then turn left and continue down the hallway to . . .

When a member of the committee proposes a new piece of art, the group often weighs the purchase decision slowly and methodically. Not so with Malian photographer Seydou Keita's portraiture series. "Those discussions took three minutes," said Prendergast. The series of five silver gelatin prints are just a few of the many portraits Keita took of the residents of Bamako in the 1940s and '50s, in the years before Mali gained its independence. Take the elevator to the third floor. Outside Seminar Room 3A, you'll see . . .

Artwork that considers the power of cultural globalization seems right at home in a business school with alumni living and working around the world. This chromogenic color print captures a glimpse into the lives of young people from China who cosplay as their favorite Japanese anime characters as a hobby.  Stop to contemplate Fei's adjacent work in the collection, Ah Ming at Home (2004), then head to your right for a stunning view of the building's main atrium. Follow the signs toward office 318, across from which hangs . . .

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A British artist, Dean handwrote imagined stage directions for fictional movies over a macabre parade of decades-old images-shipwrecks, desolate landscapes, funerals-to illustrate this "Russian Ending" and make a larger point about how widely cultures can differ. What works in one country might not work in another—a keen lesson for any student in international business. Take a moment to imagine the works as a storyboard, then continue down the long hallway. Take the first right, then an immediate left, and you'll encounter . . .

Part of Arceneaux's larger body of work about Civil Rights icon Martin Luther King Jr., this piece uses a mirror, light fixtures, and primary-source documents to literally and figuratively illuminate King's complicated legacy. Arceneaux received one of the documents seen here through a Freedom of Information Act request, and the mirrored background fills redacted areas.