Indira Allegra (b. 1980) uses text and textile production—a combined material they designate as a “text/ile”—to embody unseen forces like memory, haunting, grief, and emotions born from trauma. Toni Morrison has written that “invisible things are not necessarily not-there,”and it is in this space of not-thereness that Allegra’s work resides. Their practice explores how the ancient technology of weaving can offer contemporary insights into human patterns. Their weavings, photographs, installations, performances, videos,and writing are often site-responsive, incorporating the tensions of the spaces, materials, and objects they encounter. For Allegra, each of these things is alive with memory and functions asa collaborator in the art-making process. 

Erika Mei Chua Holum (she/they) is the Cynthia Woods Mitchell Assistant Curator at the Blaffer Art Museum at the University of Houston. They have contributed to projects and exhibitions worldwide, including Sanman Studios, Alief Art House in Houston, Museum of Contemporary Art Chicago, the Lagos Biennial in Nigeria, and Obscura Festival of Photography in Malaysia. Forthcoming projects at the Blaffer Art Museum include solo exhibitions with John Guzman, Reynier Leyva Novo, and Cian Dayrit.

Kite aka Suzanne Kite (Born 1990, Sylmar, CA, USA. Lives and works in Catskill, NY, USA) is an Oglala Lakota performance artist, visual artist, and composer raised in Southern California. Kite received a Master of Fine Arts degree from Bard College’s Milton Avery Graduate School and is currently a PhD candidate at Concordia University, Research Assistant for the Initiative for Indigenous Futures, and a 2019 Trudeau Scholar. Her work is concerned with contemporary Lakota epistemologies through the generation of research, computational media, and performance practice. Recently, Kite has been developing body interfaces for machine learning driven performance, carbon fiber sculptures, and immersive video and sound installations.

Jarod Lew’s (b. 1987, Detroit, MI, USA) photographic series, In Between You and Your Shadow, visualizes his relationship to his parents, the concealment of history and historical record, as a process of confronting truth, memory, and recollections. The three photographs offer intimate perspectives of Lew’s parents who are subjects of untold stories, memories, and histories in his formation of personal and cultural identity. As an adult, Lew learned that his mother was the fiancé of Vincent Chin, a Chinese American bludgeoned to death in a racially motivated assault by two white autoworkers who mistook him as Japanese, in Highland Park, Michigan in 1982. Chin’s murder was a major catalyst for Asian American organizing, involvement, and advocacy for civil rights and hate crime legislation.

Artist and musician Joe Namy’s (Born 1978, Lansing, MI, USA) practice encompasses sound, its history, and its impact on the built environment. Working collaboratively through public sculptures and performances, Namy’s work considers the social construction of sound and the political forces that enable its transmission. The artist’s work critically engages with the gender dynamics of sound, the migration patterns of instruments, and the translation between languages, score, sounds, instruments, and bodies in movement and dance. Other projects by Namy explore the history and resonance of opera houses across eleven countries in the Middle East as well as the archives of Arab American musician Halim El Dabh, a pioneer of tape music (Wire Recorder Piece, 1944).

Jamel Robinson (Born 1980, Harlem, New York, NY, USA. Lives and works in New York, NY, USA) is a multidisciplinary artist working in painting, assemblage, sculpture, installation, poetry, and performance. Based in the Sugar Hill area of Harlem, where he was born and grew up, Robinson’s work serves as a series of timestamps from conditions shaping his own life, grounded in the use of materials and themes associated with the historic and present grief surrounding the Black experience in America.

Jo-ey Tang is a Hong Kong-born American artist, writer, and curator, who experiments with the formats of versions, repetitions, and iterations as an ongoing engagement with time and its potential. He has served as Director at KADIST San Francisco since 2021, and was Director of Exhibitions at Beeler Gallery at Columbus College of Art & Design, curator at Palais de Tokyo, Paris, and arts editor of n+1. “Chapters” of his exhibition and book project arms ache avid aeon: Nancy Brooks Brody / Joy Episalla / Zoe Leonard / Carrie Yamaoka: fierce pussy amplified, have taken place at Beeler Gallery (2018-2019), the Institute of Contemporary Art, Philadelphia (2019), Palais de Tokyo (2022) and upcoming at Participant, Inc, New York (2025).

James Webb (b. 1975, Kimberley, South Africa. Lives in Cape Town, South Africa and Stockholm, Sweden) is a conceptual artist, known for his site-specific interventions and installations. His practice involves sound, found objects, and text, invoking references to literature, cinema, and the minimalist traditions. By shifting objects, techniques, and forms beyond their original contexts and introducing them to different environments, Webb creates new spaces of tension. These spaces bind Webb’s background in religion, theater, and advertising, offering poetic inquiries into the economies of belief and dynamics of communication in our contemporary world.

Carmen Winant (Born 1983) is a leading found image artist. Her photographic practice takes the form of collages, sculptures, artist books, billboards, and wall installations. Her work expands the public dialogue on the representation of women in Western society. She uses pre-digital sources, often hand cutting images from instructional manuals of craft and childbirth, as well as utopian pamphlets from lesbian separatists, feminist collectives, and women’s liberation movements of the 20th century. Winant’s referenced images highlight individual and collective acts, asking: what binds and unbinds one from society? Winant examines and exposes the entrenched ideologies that circulate via printed and found images, operating in and shaping the socio-political space that produces them. 

An artist-theorist and historian, Jill H. Casid holds the appointment of Professor of Visual Studies in the Departments of Art History and Gender and Women’s Studies at the University of Wisconsin-Madison. Casid is bringing to completion Doing Things with Being Undone in the Necrocene, the first part of a two-book project on Form at the Edges of Life. Casid is the author of Sowing Empire: Landscape and Colonization (Minnesota, 2005), Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) which is in Spanish translation (Metales Pesados, 2022), and the co-edited collection Art History in the Wake of the Global Turn (Yale, 2014). Casid’s artwork has been exhibited nationally and internationally.