In early January, Ford gave lectures on Honoré de Balzac, Édouard Manet, and on Trilby, a recently published novel.
She initiated a series of classes on "English Art", and a second series on Shakespeare, meeting about every two weeks.
Meanwhile, individual talks continued into mid-January (even naming one of the rooms after her) for the Arché club.
A few days later she gave a talk on George Sand, and Trilby, and another talk in the next week.
There are yet three more talks noted before the end of January: Millet before the Chicago South Side Women's club, Edouard Manet and impressionism for the Arché club, and Rosa Bonheur for her class.

February continued the pace.
She began a series before the new Chicago Culture Club at the Church of the Epiphany (Chicago), and less than a week later gave a talk on Hamlet, and then another for a benefit dinner.
A few days later she gave a talk for the Menoken Club.
She ended the Arché club series with a talk on "Degas, Raffaelli, and their theories".
There was an individual talk on March 10 on The Tempest, followed by a "salon day" for the Arché club.
Then she announced another series of lectures and continued the individual talks.
The first series of talks during some recitals at individual's homes on Beethoven, Wagner, and Schumann each a week apart in what is now the Prairie Avenue District.
Meanwhile, she gave a talk on "Shakespeare's women" at the new YWCA in what is now the Historic Michigan Boulevard District, Then she lectured on the subject of "American Colonists".
A week later she was talking for the Arché club.
The last few days of March she addressed and reviewed Chicago artists, in which she was quoted extensively for in a column in The Inter Ocean newspaper of Chicago.
Papers also noted that by April the talks had outgrown the space of rooms in churches.
Nevertheless, benefits were still held in churches, such as for the YWCA with a talk about John Ruskin, also a Spiritualist.
Another publicized talk at a home was on "French Women of the Salon".
She made a trip outside Chicago to Sterling, IL for a talk the next day.
But she was back in time to give a talk in a week, and in a few days was giving a new talk entitled "[[Nibelungenlied|Nibelungen Lied [sic]]]".
In May she gave two lectures.
A repeat of one of the recitals comes in early June, held at the Hotel Windermere (Chicago).
In a new turn of events, Ford challenged the Inter Ocean art critic on the virtues of impressionism - the critic opens with a line from Ford's letter to her "After having told the world what you see in Manet's pictures, don't you think you should do the graceful thing and tell what the artist sees?".
Together they reviewed an exhibition, out of which the critic concedes "... and truth to tell (Manet's defender) took home the palm."

In August, Ford presented on Wagner's trilogy at Green Acre, in Eliot, Maine.
This was an early link in events that would become important for Ford in 1901.

In September, with the Arché club, she launched a series for the Winter on "Modern German Art, Literature, and Music", and directly after announcing the series she did a talk at a Wagner recital.
Two other Clubs, the Harvard Club and Home Club, announced she would lead a literature group of each.
A rather large crowd of women listened to her for a talk entitled "The Colonial Painters, West, Trumbull, Copley, and Stuart" in early October, while the recitals on German art and talks continued.
A free series of classes was then opened up for working-class ladies taught by Ford.

The Chicago Culture club was back from the summer break as well with Ford giving the kick off talk for the Fall, followed soon by an announcement of a series on French art through the Fall, and ford gave individuals talks - a charity recital, on Louis David and even a bridal rehearsal, all before the end of October.

In November, Ford gave another talk on Wagner, as well as "Delarouche and the Vernets".
A lecture a week later was presented in a home, and it was announced the success of the Arché club had reached a point of offering prizes at the
In early January, Ford gave lectures on Honoré de Balzac, Édouard Manet, and on Trilby, a recently published novel. She initiated a series of classes on "English Art", and a second series on Shakespeare, meeting about every two weeks. Meanwhile, individual talks continued into mid-January (even naming one of the rooms after her) for the Arché club. A few days later she gave a talk on George Sand, and Trilby, and another talk in the next week. There are yet three more talks noted before the end of January: Millet before the Chicago South Side Women's club, Edouard Manet and impressionism for the Arché club, and Rosa Bonheur for her class.
February continued the pace. She began a series before the new Chicago Culture Club at the Church of the Epiphany (Chicago), and less than a week later gave a talk on Hamlet, and then another for a benefit dinner. A few days later she gave a talk for the Menoken Club. She ended the Arché club series with a talk on "Degas, Raffaelli, and their theories". There was an individual talk on March 10 on The Tempest, followed by a "salon day" for the Arché club. Then she announced another series of lectures and continued the individual talks. The first series of talks during some recitals at individual's homes on Beethoven, Wagner, and Schumann each a week apart in what is now the Prairie Avenue District. Meanwhile, she gave a talk on "Shakespeare's women" at the new YWCA in what is now the Historic Michigan Boulevard District, Then she lectured on the subject of "American Colonists". A week later she was talking for the Arché club. The last few days of March she addressed and reviewed Chicago artists, in which she was quoted extensively for in a column in The Inter Ocean newspaper of Chicago. Papers also noted that by April the talks had outgrown the space of rooms in churches. Nevertheless, benefits were still held in churches, such as for the YWCA with a talk about John Ruskin, also a Spiritualist. Another publicized talk at a home was on "French Women of the Salon". She made a trip outside Chicago to Sterling, IL for a talk the next day. But she was back in time to give a talk in a week, and in a few days was giving a new talk entitled "[[Nibelungenlied|Nibelungen Lied [sic]]]". In May she gave two lectures. A repeat of one of the recitals comes in early June, held at the Hotel Windermere (Chicago). In a new turn of events, Ford challenged the Inter Ocean art critic on the virtues of impressionism - the critic opens with a line from Ford's letter to her "After having told the world what you see in Manet's pictures, don't you think you should do the graceful thing and tell what the artist sees?". Together they reviewed an exhibition, out of which the critic concedes "... and truth to tell (Manet's defender) took home the palm."
In August, Ford presented on Wagner's trilogy at Green Acre, in Eliot, Maine. This was an early link in events that would become important for Ford in 1901.
In September, with the Arché club, she launched a series for the Winter on "Modern German Art, Literature, and Music", and directly after announcing the series she did a talk at a Wagner recital. Two other Clubs, the Harvard Club and Home Club, announced she would lead a literature group of each. A rather large crowd of women listened to her for a talk entitled "The Colonial Painters, West, Trumbull, Copley, and Stuart" in early October, while the recitals on German art and talks continued. A free series of classes was then opened up for working-class ladies taught by Ford.
The Chicago Culture club was back from the summer break as well with Ford giving the kick off talk for the Fall, followed soon by an announcement of a series on French art through the Fall, and ford gave individuals talks - a charity recital, on Louis David and even a bridal rehearsal, all before the end of October.
In November, Ford gave another talk on Wagner, as well as "Delarouche and the Vernets". A lecture a week later was presented in a home, and it was announced the success of the Arché club had reached a point of offering prizes at the 
Mary Hanford Ford