Independent curator and producer, archivist, and writer Jason Andrew is the founding partner at Artist Estate Studio, and manages the Estate of Elizabeth Murray among others. Through lectures, IG LIVE Events, research-heavy Instagram posts, edgy exhibitions, and provoking essays like “How Graffiti Influenced Elizabeth Murray," he has re-introduced the artist to a new generation of artists, curators, and collectors.

Yevgeniya Baras is an artist living and working in Brooklyn, NY. She has exhibited her work in several New York City galleries and internationally. She is represented by Nicelle Beauchene Gallery in New York and the Landing Gallery in Los Angeles. Baras was named a Guggenheim Fellow in 2019. She was a recipient of the Pollock-Krasner grant and the Chinati Foundation Residency in 2018 and the Yaddo Residency in 2017. She received the Artadia Prize and was selected for the Sharpe-Walentas studio program and the MacDowell Colony residency in 2015. In 2014 she earned the Rema Hort Mann Foundation’s Emerging Artist Prize. Her work has been reviewed in The New York Times, The Los Angeles Times, ArtForum and Art in America.

Contemporary American artist Deborah Kass has a practice spanning across media and disciplines, notable for her pointed feminist critique. Through her use of appropriation, she often mimics the work and styles of male artists to comment on and rewrite the patriarchal narrative of art history. Born in San Antonio, TX in 1952, she went on to receive her BFA from Carnegie Mellon University and study at both the Whitney Independent Study Program and the Art Students League in New York before rising to art world fame. Her honors include a mid-career retrospective at The Andy Warhol Museum in Pittsburgh, inclusion in multiple Venice Biennales, and the position of senior critic at the Yale University painting program.

An artist working at the boundaries between painting and sculpture. Her reconfigured canvases unbind painting from the stretcher, avoiding conventional support systems and imagining a myriad of spatial contortions. Her evident interest in color represents a liberation from, and criticality of, Western art history’s othering of color, and categorizing it as unruly, foreign, and vulgar. Instead, her interest in imagining unrestrained structures exceeds those boundaries and is partially inspired by science fiction. Williams’ drawings also manipulate the way images are presented, playing with assumptions about virtuosity through abstraction.

A Brooklyn-based writer whose book Agnes Martin: Her Life and Art received the 2016 PEN America award for biography, Nancy Princenthal is the former Senior Editor of Art in America and is a contributor to many other publications including The New York Times. She is the author of Hannah Wilke, Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s, and a co-author of two recent books on women artists; a third, Mothers of Invention will be released this spring. She has taught at the Center for Curatorial Studies, Bard College; Princeton University; Yale University; and the School of Visual Arts.