Beyond Smiles: Tackling Dental Health Care Access When Facing Intimate Partner Violence (IPV)
2025-03-19 08:30 - 2025-03-30 18:00 (America/New_York) | OCAD U, 100 Mccaul Street, Toronto, ON, M5T 1W1, Canada
We are proud to support the “Beyond Smiles” project and art exhibition.

Eventbrite link: https://www.eventbrite.ca/…/beyond-smiles-tackling…

Art workshop facilitated by Feminist Art Collective residency artist Hemangi Shroff & research exhibition curated by Feminist Art Collective founder Ilene Sova.

Beyond Smiles: Tackling Dental Health Care Access When Facing Intimate Partner Violence (IPV)

This event is all about addressing the challenges of accessing dental health care when dealing with intimate partner violence.
Intimate partner violence is a major public health issue in Canada. It disproportionately affects racialized women who face increased obstacles in accessing care. A University of Toronto study explored these challenges from the viewpoints of women with lived experience of violence and service providers. This event will discuss opportunities for improving access to necessary supports, including actionable change in dental care delivery, and feature self-portraits by the women who participated in the study.

Join us at OCAD U – 100 McCaul St – on March 27th to learn from experts in the field and connect with others who are passionate about improving access to dental care for those facing IPV. This event is free and open to all. Don’t miss out on this opportunity to learn more!

The art exhibit is opened from March 19th-March30th 2025 at the OCADU Ada Slaight Gallery.
MCA Gallery Hours:
Monday to Friday: 7:30 AM to 12:00 AM (Card swipe from 8pm to Midnight)
Saturday: 8:30 AM to 6:00 PM
Sunday: 12:00PM to12:00AM (Card swipe from 8pm to Midnight)

Virtual Program: Affrilachian Freedom Dreaming: Honoring Dr. Ancella Bickley
2025-03-28 10:00 - 11:00 (America/New_York) | OH
West Virginia University (WVU) Art in the Libraries’ Inaugural WVU Feminist Activist Artist Residency program presents artist Catron Booker and her project, “Affrilachian Freedom Dreaming: Honoring Dr. Ancella Bickley.”
Join Art in the Libraries and WVU Libraries on Friday, March 28 at 10 a.m. via zoom to hear from Booker about her experience as the first WVU Feminist Activist Artist Resident, her process and inspiration for exploring the Dr. Ancella Bickley archives in the West Virginia & Regional History Center and her resulting artistic product, a short film honoring Bickley.
Catron Booker, a Black feminist experimental filmmaker and performance artist, uses Afrofuturism to envision Black liberation. During the Feminist Activist Collection Artist in Residency (FAIR), she will create Affrilachian Freedom Dreaming, a short experimental film exploring Black resistance through the Dr. Ancella Bickley archival collection of the West Virginia and Regional History Center Feminist Activist Collection. Dr. Ancella Bickley (born 1930, Huntington, WV) is a historian, educator, and author known for preserving and documenting the history of Black communities in West Virginia, with a focus on oral histories, genealogy, and the contributions of overlooked Black scholars and activists. Inspired by Bickley’s focus on overlooked “community builders,” Booker will interweave archival materials with footage of the Ohio River, a historically significant landmark in Louisville. The project examines the river as both a visual metaphor and a site of historical continuity. As part of the residency, she plans a film screening and community discussion, potentially including a conversation on Bickley’s work.
To register: https://wvu.libcal.com/calendar/events/FAIR
More on the event: Art in the Libraries to host feminist activist artist to wrap inaugural residency program | Ex Libris Magazine | West Virginia University
More on Catron Booker: https://catronbooker.tumblr.com/
More on the Feminist Activist Artist in Residency Program: https://exhibits.lib.wvu.edu/special-projects/artist-in-residency

Questions: Email WVU Libraries Curator Sally Brown, sally.brown1@mail.wvu.edu.

Anonymous Was A Woman: The First 25 Years
2025-04-01 11:00 - 2025-07-19 17:00 (America/New_York) | Grey Art Museum, 18 Cooper Square, NYC, NY, 10003, United States
NYU’s Grey Art Museum Highlights 25 Years of Women’s Achievements in Contemporary Art
Anonymous Was A Woman: The First 25 Years
April 1–July 19, 2025
Exhibition celebrates landmark Anonymous Was A Woman artist grant, which has awarded over $8 million to nearly 300 mid-career women artists

Press Contact
Sofeia Eddy | sofeia.eddy@nyu.edu | 212-998-6782
[Download Press Release]
[Download List of Exhibiting Artists]
(NEW YORK, NY, January 13, 2025)—The Grey Art Museum at New York University presents Anonymous Was A Woman: The First 25 Years, an exhibition celebrating recipients of the titular grant for mid-career women artists living and working in the United States. On view from April 1 to July 19, 2025, at 18 Cooper Square, this ambitious exhibition invites reflection on a quarter century of artistic achievement tied to the Anonymous Was A Woman (AWAW) grant program, which, since 1996, has supported women artists over the age of 40 with unrestricted awards. Six years in the making, Anonymous Was A Woman is organized by the Grey Art Museum at NYU and guest curated by Nancy Princenthal and Vesela Sretenović.
Featuring some 50 artworks by 41 of the 251 award recipients from when the grant was inaugurated in 1996 through 2020, the exhibition showcases a range of media and subjects by artists including Jeanne Silverthorne (AWAW 1996), Laura Aguilar (AWAW 2000), Senga Nengudi (AWAW 2005), Mary Heilmann (AWAW 2006), An-My Lê (AWAW 2006), Carrie Mae Weems (AWAW 2007), Ida Applebroog (AWAW 2009), Jungjin Lee (2011), Janine Antoni (AWAW 2014), and Jennifer Wen Ma (AWAW 2019), among others. With each year represented by at least one artist, the exhibition includes works created within a few years of their grant, demonstrating the significance of the award to the artist’s growth. “Nancy and I sought to create a visually compelling and intellectually stimulating exhibition that balances work by well-established and lesser-known artists. We also wanted to highlight leaps in production that the grant made possible, both practically—many artists were enabled to try new materials and processes—and conceptually,” Sretenović says. All 251 artists are represented in a publication accompanying the exhibition, which also includes critical essays about the awardees by Princenthal, Sretenović, and other women scholars.
Visitors to Anonymous Was A Woman will encounter works that trace the development of contemporary art practice over the last twenty-five years, addressing issues of identity and community; the position of women artists in society; the shifting value of craft; the changing possibilities for installation and time-based media; as well as the many uses of anonymity. Flamethrower, for example, a painting by Carrie Moyer (AWAW 2009) demonstrates the artist’s characteristic high-gloss surfaces and curvaceous, colorful forms, and challenges gendered conventions of abstraction. Rona Pondick (AWAW 2016), also featured in the exhibition, has used her own body to create self-portraits in various materials—such as the colored molded resin of Magenta Swimming in Yellow—that are at once deeply personal and anonymizing. Likewise, Elizabeth King (AWAW 2014) often references her own body when creating precisely moveable, half-scale figurative sculptures and combining them with stop-motion animation, as in Feints and Sleights.
Princenthal explains, “Every single one of the artists who received a grant in our target period is remarkable, and it was an enormous challenge to choose among them. Vesela and I embraced the variety of thematic and formal approaches seen in the awardees’ work, as well as the full range of their regional, ethnic, and racial backgrounds, and the several generations they represent.” For example, Betye Saar’s (AWAW 2004) assemblage, Globe Trotter, depicts a worn vintage doll held captive inside of a small birdcage resting atop a globe—a combination of powerful symbols referencing the history of slavery. Claudia Joskowicz’s (AWAW 2020) Some Dead Don’t Make a Sound, like many of her video and installation works, evokes the transformative effect of violent political events on physical spaces and collective memory.
“I think what is astonishing for all of us,” states Lynn Gumpert, director of the Grey Art Museum since 1997, “is to look over this list of amazing artists and realize the impact they have made on the last twenty-five years of the art scene. As of 2019—when we were first conceiving the show—just 11% of all acquisitions and 14% of exhibitions at major American museums over the past decade were of work by female artists, according to the Burns Halperin Report. We know that there is still a lot of work to be done.”
Last year, Susan Unterberg and AWAW launched the Anonymous Was A Woman Artist Survey in collaboration with journalists Charlotte Burns and Julia Halperin, arts leader Loring Randolph, and SMU Data Arts. A first-of-its-kind study, the survey aims to gain a better understanding of women artists’ lives and careers, and the factors contributing to their successes and challenges. Findings will be made publicly available on April 9, 2025, as part of “Artists Speak: The Anonymous Was A Woman Symposium,” hosted at NYU. Registration will be available on the AWAW website.
About AWAW
Founded by visionary philanthropist and photographer Susan Unterberg, the Anonymous Was A Woman (AWAW) grant program has provided annual unrestricted gifts of $25,000 each to ten exceptional artists over the age of 40, enabling them to further push boundaries in their creative fields. In 2024 the number of awardees permanently increased to fifteen and the cash prize doubled to $50,000. “Since I am an artist, I knew firsthand that the needs of mid-career artists were generally overlooked,” says Unterberg, who herself remained anonymous until 2018.
The groundbreaking program, inspired by a line from Virginia Woolf’s essay, “A Room of One’s Own,” was established in response to the National Endowment for the Arts’s decision to end funding for individual artists. True to its name, AWAW selects artists via anonymous panels based on recommendations proposed each year by a group of anonymous nominators comprising previous awardees, curators, writers, and other art professionals. Unterberg says, “Women throughout history—and especially women artists—have often remained anonymous. They didn’t sign their work, and of course, they received very little recognition. AWAW has given me an immense amount of joy—and mostly since I’ve gone public. It’s a way to show my activism and advocate that women shouldn’t remain anonymous any longer.” Over the years, this grant has been transformative for many artists, offering critical financial support and awarding over $8 million to more than 300 recipients to date. In 2022 AWAW partnered with the New York Foundation for the Arts (NYFA) to initiate the Environmental Art Grant, a yearly open call for woman-led art projects that inspire thought, action, and ethical engagement with the environment.
For more information on Anonymous Was A Woman, please visit anonymouswasawoman.org.
Publication
Anonymous Was A Woman: The First 25 Years is accompanied by a 392-page volume of the same name, which will be released prior to the opening of the exhibition. Co-published by Hirmer Verlag and the Grey Art Museum at New York University, the publication commemorates all 251 recipients of the award from 1996 through 2020, offering a visual and critical account of their work and careers. Featuring new essays by Nancy Princenthal, Vesela Sretenović, Valerie Cassel Oliver, Alexandra Schwartz, Cecilia Fajardo-Hill, Jenni Sorkin, and Gaby Collins-Fernández, as well as a roundtable discussion with founder Susan Unterberg, the book also unveils previously untold histories, underscoring the lasting influence of these artists. “The book, unlike the exhibition, functions as kind of a mini-history, which is exciting,” shares Gumpert. Available soon at the Grey Art Museum Bookstore, $55 retail, and online.
Credits
Anonymous Was A Woman: The First 25 Years is organized by the Grey Art Museum, New York University, and curated by Nancy Princenthal and Vesela Sretenović. The exhibition is made possible in part by the generous support of the Grey’s Director’s Circle, Inter/National Council, and Friends; and the Abby Weed Grey Trust.
About the Curators
Nancy Princenthal is a Brooklyn-based writer whose book Agnes Martin: Her Life and Art (2015) received the 2016 PEN/Jacqueline Bograd Weld Award for Biography. She is also the author of Hannah Wilke (2010) and Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (2019), and co-author of Mothers of Invention: The Feminist Roots of Contemporary Art (2024). Princenthal has taught at Bard, Princeton, Yale, the School of Visual Arts, NYU’s Institute of Fine Arts, and elsewhere.
Vesela Sretenović is an art historian and curator of modern and contemporary art with a special interest in cross-disciplinary art practices and in bridging theoretical knowledge with hands-on experience. From 2009–23 she served as Director of Contemporary Art Initiatives and Academic Affairs at The Phillips Collection, Washington, DC. She is currently working as an independent curator and educator.
About the Grey Art Museum
After nearly a half-century on Washington Square, the Grey Art Gallery became the Grey Art Museum, New York University, in 2024. The Grey’s new facility occupies the ground floor of a brick and iron building in the NoHo Historic District, its open storefront façade facing out onto a busy pedestrian thoroughfare. The new location accommodates three galleries—expanding exhibition space by 40 percent—and, on the lower level, the Cottrell-Lovett Study Center, which will enable more direct access to the collection for students, faculty, and researchers.
Over the last five decades the institution has organized exhibitions that have encompassed all the visual arts: painting, sculpture, drawing and printmaking, photography, architecture and decorative arts, video, film, and performance. In addition to producing its own exhibitions, which often travel to other venues in the United States and abroad, the museum hosts traveling shows that might otherwise not be seen in New York and produces scholarly publications that are distributed worldwide. In 2025 the Grey Art Museum celebrates its 50th anniversary.
General Information
Grey Art Museum, New York University
18 Cooper Square, New York, NY 10003
(Mailing address: 20 Cooper Square, 2nd Floor, New York, NY 10003)
Tel: 212-998-6780, Fax: 212-995-4024
E-mail: greyartmuseum@nyu.edu Website: greyartmuseum.nyu.edu
Hours
Tuesday: 11 am–6 pm
Wednesday: 11 am–8 pm
Thursday: 11 am–6 pm
Friday: 11 am–6 pm
Saturday: 11 am–5 pm
Closed Sunday, Monday, and major holidays
Admission
Suggested donation: $5; free of charge to NYU students, faculty, and staff

Image: Judy Pfaff (AWAW 2012), Ram’s Delhi, 2012. Wood, mild steel rod, melted plastics, black aluminum foil, and LED and UV Fluorescent light, 70 x 132 x 17 in. Courtesy the artist and Miles McEnery Gallery, New York

Guerrilla Girls: Making Trouble
2025-04-12 10:00 - 2025-09-28 17:00 (America/New_York) | National Museum of Women in the Arts, 1250 New York Ave. NW, Washington, DC, 20005
The dynamic and indefatigable artist collective known as the Guerrilla Girls mark their fortieth anniversary in 2025. The group, who declared themselves “the conscience of the art world,” emerged in 1985 with bold text- and graphic-based prints denouncing discrimination. Comprising anonymous feminist-activist artists, the Guerrilla Girls are known for their provocative street campaigns and the advertising-style graphics that they use to broadcast their messages across billboards, buildings, banners, and other sites. Combining eye-catching aesthetics with stark statistics, the group brings widespread attention to issues of inequality and inequity.
Drawn from NMWA’s extensive holdings of work by the Guerrilla Girls, this exhibition presents an enthralling visual timeline of the group’s progress and ever-expanding subject matter. Although their first focus was gender disparity in the visual arts, today they cast a critical eye over a wide array of fields, including film, theater, politics, and pop culture. While the past four decades have seen unprecedented change in numerous social movements, many of the topics that the Guerrilla Girls addressed in the 1980s and ’90s (reproductive rights, environmental issues, and political corruption, to name a few) remain pressing today.
Over the years, the Guerrilla Girls have continued to make waves with their signature bold installations and advocacy for positive change. This exhibition highlights the collective’s intrepid work and encourages museum visitors to speak up with their own observations and activism. For forty years, the Guerrilla Girls have advocated for greater transparency and fairness in the arts and beyond, and they are not slowing down.

Exhibition Sponsors
Guerrilla Girls: Making Trouble  is organized by the National Museum of Women in the Arts and generously supported by the members of NMWA.
Museum Hours
Tuesday to Sunday
10 am to 5 pm

ArtViews: Gender and Cultural Norms
2025-04-14 09:00 - 13:00 (America/New_York) | BRIC, 647 Fulton Street, Brooklyn, NY, 11217, United States
ArtViews: Gender and Cultural Norms
Monday, April 14
9:00 AM- 1:00 PM

BRIC
647 Fulton St, Brooklyn, NY
Presented in collaboration with A.I.R. Gallery
REGISTER
The American Federation of Arts (AFA) is excited to present ArtViews: Gender and Cultural Norms, a thought-provoking symposium exploring gender, identity, and equity in the arts. This event, part of AFA’s ArtViews series, will bring together artists, curators, scholars, and arts professionals to discuss the evolving landscape of representation in the art world.
Through engaging panels and networking opportunities, participants will have the chance to rethink the historical label of “woman artist” in today’s intersectional landscape, examine the impact of American culture and policies on art careers, and address barriers to gallery representation and access to the art mark.
This symposium is free and open to the public with registration.
For questions and additional information, please contact events@amfedarts.org.

About the panelists:
Roxana Fabius
Roxana Fabius (Uruguay) is a curator and art administrator. She currently lives and works in New York City. Between 2016 and 2022 she was Executive Director at A.I.R. Gallery, the first artist-run feminist cooperative space in the U.S. During her tenure at A.I.R. she organized programs and exhibitions with artists and thinkers such as Gordon Hall, Elizabeth Povinelli, Jack Halberstam, Che Gosset, Regina José Galindo, Lex Brown, Kazuko, Zarina, Mindy Seu, Naama Tzabar and Howardena Pindell among many others. These exhibitions, programs and special commissions were made in collaboration with international institutions such as the Whitney Museum (New York) Google Arts and Culture and The Feminist Institute and Frieze Art Fair in New York and London. She is currently curating the 2024 exhibition series “Cantando Bajito” at the Ford Foundation Gallery in New York, and is the Director of Programs and Curator at The Neighborhood.
Molly Gochman
Molly Gochman, an artist and activist deeply engaged in social practice, focuses on activating spaces for profound collective experiences. Her practice encompasses a diverse range of mediums including photography, sound, installation, and sculpture. Through these mediums, she often challenges and subverts conventional material boundaries to foster interaction, play, exploration, and meaningful dialogue. Gochman frequently explores concepts encompassing human connection, environment, and community, rooted in the belief that life’s experiences shape us. Guided by the concept that “life leathers us,” her works not only aim to aesthetize but also reflect the passage of time through weather, wear, and change. Her practice continues to evolve with a desire to actively engage participants, inspire meaningful dialogues, find commonality, and discover shared human experiences. She has exhibited her work at The Ukrainian Museum, New York; NYC Parks Art in the Parks; NADA House, New York; Lincoln Center, New York; Deborah Colton Gallery, Houston; Diverse Works, Houston; Chashama, New York; Sara Roney Gallery, Sydney; Grace Farms, New Canaan; Barbara Davis Gallery, Houston; Zilkha Hall, Houston; Elsewhere, Greensboro and other traditional and non-traditional exhibition spaces. She received a Bachelor of Fine Arts in Sculpture from Guilford College. Originally from Texas, Molly is currently based in New York.
Florence Lynch
Florence Lynch is a New York-based art dealer and the Senior Director at Jenkins Johnson Gallery, which has locations in both San Francisco and New York. In her role, she liaises with the gallery’s roster of both emerging and established artists and introduces new talents to the program. Lynch represents the gallery at relevant global events and travels regularly to support institutional and client development while maximizing business opportunities in new markets. Lynch previously served as the Director of Sales and Public Relations at Elizabeth Dee in New York; followed by the position of Senior Director at Marc Straus Gallery. She was co-owner of Lynch Tham, a contemporary art gallery established in 2013 on the Lower East Side. Furthermore, Lynch is the founder of the Florence Lynch Gallery, an internationally recognized contemporary art gallery that was formerly located in New York’s Chelsea gallery district. With over 20 years of experience in the art world, she has also worked as an independent curator, critic, and lecturer. Lynch has conducted interviews and authored essays on notable figures including Quentin Tarantino, David Lynch, Jenny Holzer, David Hammons, Nan Goldin, and Robert Longo. She has held adjunct positions at Teachers College, Columbia University in the ARAD Master’s Program teaching Principles and Practices in the Visual Arts, as well as in the School of Graduate Studies at the Fashion Institute of Technology, State University of New York, in the Art Market Department. Her memberships and community involvements include Arts Council Member for Madison Square Park Conservancy, being a member of the A.I.R Advisory Board, participating in the Advisory Council of the Alumni Association of the NY Studio School, and being a member of ARTTABLE, The Leadership Organization for Professional Women in the Visual Arts.
Lisa Kim
Lisa Kim is the inaugural director of the Ford Foundation Gallery, an exhibition space within the Ford Foundation Center for Social Justice in New York City. Since 2018, she has led the development of the gallery’s exhibitions and public engagement programs to advance the mission and values of the Ford Foundation. Prior to her appointment at the Ford Foundation, she was director of cultural affairs at Two Trees Management Company, a real estate development firm in Brooklyn, NY. There she fostered artistic and creative community development through overseeing the company’s arts philanthropy and public art initiatives, producing the annual DUMBO Arts Festival from 2011 to 2014, and managing the Sharpe-Walentas Studio Program. Lisa served as the director of the New York City Percent for Art Program from 2006 to 2008, supporting the commissioning and installation of public artworks, and for 12 years she oversaw the exhibitions, collections, construction, and expansion for Gagosian Gallery in New York. Lisa holds a Bachelor of Arts in Art History with a concentration in Visual Arts from Barnard College and a Master of Industrial Design from Pratt Institute. She serves on the advisory board of A.I.R. Gallery and is a member of the board of directors of ICOM-US.
Alison Croney Moses
Alison Croney Moses (b. 1983) is a Boston based artist primarily working in wood, investigating craft, community, identity, and motherhood. Her work is in the collections of the Detroit Institute of the Arts, Museum of Fine Arts Boston, the Rose Art Museums, and the Smithsonian American Art Museum in Washington, D.C. She is a recipient of the 2022 USA Fellowship in Craft, and 2023 Boston Artadia Award, a finalist of the 2024 LOEWE FOUNDATION Craft Prize and the recipient of the 2024 Black Mountain College International Artist Prize. She was named one of the 2023 WBUR 10 Makers and is currently one of the Triennial Accelerator Artists for the 2025 Boston Public Art Triennial. Alison holds an MA in Sustainable Business & Communities from Goddard College, and a BFA in Furniture Design from Rhode Island School of Design.
Dr. Ksenia M. Soboleva
Dr. Ksenia M. Soboleva is a New York based writer and art historian specializing in queer art and culture. She holds a PhD from the Institute of Fine Arts, NYU. Her writings have appeared in The Brooklyn Rail, BOMB, Ursula Magazine, Artforum, frieze, and Hyperallergic. She has contributed to numerous artist monographs and exhibition catalogues, including Chitra Ganesh (2024),Robert Indiana: The Sweet Mystery (2024), and Fire Island: A Century of Art (forthcoming). Previously, Soboleva was a Vilcek Curatorial Fellow at the Solomon R. Guggenheim Museum in New York, and an Andrew W. Mellon Postdoctoral Fellow in Gender and LGBTQ+ History at the New-York Historical. She is the recipient of the 2022 Baxter St. Camera Club’s Guest Curatorial Initiative, and the 2025 Dora Maar House Fellowship. She is currently completing her book manuscript “What Happens After: Art, AIDS, and Lesbian Histories” and co-editing the first monograph on TRIAL BALLOON, a lesbian-run gallery and project space active in the early 1990s, forthcoming with Karma.
Dr. Deborah Willis
Deborah Willis, Ph.D. is University Professor and Chair of the Department of Photography & Imaging at Tisch School of the Arts at New York University. She has affiliated appointments with the College of Arts and Sciences, the Department of Social & Cultural Analysis, and the Institute of Fine Arts, where she teaches courses on Photography & Imaging, iconicity, and cultural histories visualizing the black body, women, and gender. She is the director of NYU’s Center for Black Visual Culture/Institute of African American Affairs. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers, and beauty. She is the author of Kamala: Her Historic, Joyful, And Auspicious Sprint to the White House (co-authored with Kevin Merida), The Black Civil War Soldier: A Visual History of Conflict and Citizenship, Posing Beauty: African American Images from the 1890s to the Present, among others. Dr. Willis’ curated exhibitions include: “Framing Moments in the KIA” at Kalamazoo Institute of the Arts, and “Free as they want to be: Artists Committed to Memory” at FotoFocus. Dr. Willis was awarded the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University; a John Simon Guggenheim Fellow, and an Alphonse Fletcher, Jr. Fellow. She was the Robert Mapplethorpe Photographer in Residence of the American Academy in Rome and is a member of the American Academy of Arts and Sciences. She is a recipient of the Don Tyson Prize for the Advancement of American Art by the Crystal Bridges Museum in 2022; was named the Mary Lucille Dauray Artist-in-Residence by the Norton Museum of Art and taught her a Master Class titled Home, Reimagining Interiority at Anderson Ranch in 2023. In 2024, Dr. Willis was appointed Board Chair of the Andy Warhol Foundation and elected to the American Philosophical Society.
Dr. Katharine J. Wright
Katharine J. Wright is a curator and scholar of modern and contemporary art based in New York City. She specializes in pre- and post-war American art, with a focus on design, alternative media, public art, and photography. For more than twenty years, Katharine has conducted research, organized educational programs, and held curatorial roles at major art museums including the Morgan Library and Museum, the Museum of Modern Art, the Whitney Museum of American Art, and the Metropolitan Museum of Art. She has curated exhibitions across the United States, Europe, and Latin America, featuring artists such as Felix Gonzalez-Torres, Marta Chilindron, George Lois, Sol LeWitt, Dan Flavin and many more. Dr. Wright received her BA from Williams College and her MA and PhD from The Institute of Fine Arts, New York University. Her research and writing has been published by the Metropolitan Museum of Art, Thames & Hudson, Yale University Press, caa.reviews, and Ridiculosa.
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Public programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. These programs are also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. We are also grateful for the generous support of Berkley Asset Protection, Huntington Block, Arthur F. and Alice E. Adams Charitable Foundation, and the American Chai Trust.
The Feminist Art Project is a proud resource partner for this event.

Rejoinder Issue 10: Dissenting Feminisms
2025-05-05 08:00 - 2026-05-05 17:00 (America/New_York) | Online
We are pleased to announce that the Spring 2025 issue of Rejoinder is now available. The theme of this issue is “Dissenting Feminisms.” Contributors include: Tina Escaja, Vuyokazi Ngemntu, Ildikó Kalapács, Destiny Crockett, Catherine A. Evans, Jessie B. Ramey, Mahdiyeh Govah, Judy Rohrer, Jaime Cantrell, Avik Sarkar, Sheila Shankar, Soo Young Lee, and Alexis Krasilovsky.

Rejoinder is an online journal published by the Institute for Research on Women (IRW) at Rutgers in partnership with The Feminist Art Project.

The issue is available at: https://irw.rutgers.edu/rejoinder.
Image:
Ildikó Kalapács, Dueling Women
Acrylic, mixed media
Courtesy of the artist.

Idiosyncratic Identities
2025-05-08 17:30 - 20:00 (America/New_York) | Tabla Rasa Gallery, 224 48th St, Brooklyn, NY 11220, NY, 11220, United States
Brooklyn, NY—In celebration of its 20th Anniversary as a cornerstone of Brooklyn’s richly diverse cultural community, Tabla Rasa Gallery is pleased to announce a new exhibition titled Idiosyncratic Identities, curated by Izzy Nova and Giustina Surbone. The exhibition’s featured artists, Christina Schlesinger, Giustina Surbone, Grace Graupe-Pillard, Robin Tewes, and Sandra Cavanagh, explore the complexities of individual identity through the framework of contemporary art. On view May 8 – 30, 2025.
Over the past two decades, Tabla Rasa Gallery has established its own “idiosyncratic identity,” shaped by the wide variety of artists and stories it has presented to the public. Continuing this rich narrative tradition, Idiosyncratic Identities showcases work that engages with themes of personal experiences, cultural heritage, and the continually evolving understanding of self. Viewers can expect to see paintings that examine the intersections of individuality and collective identity.
“Arising from our multiple vantage points as practicing artists, supporters of art nonprofits, and commercial gallerists, it is thrilling to celebrate Tabla Rasa’s 20th Anniversary,” said directors Audrey and Joseph Anastasi. “As the first full-time gallery in Sunset Park, Brooklyn, it has been profoundly rewarding to have shared visual art within this vibrant residential and industrial community.”
The public is invited to join them in celebrating 20 years of art, culture, and storytelling, honoring Tabla Rasa Gallery’s vibrant legacy. The exhibition will run from May 8 to 30th, 2025.
About Tabla Rasa Gallery
Founded twenty years ago by Audrey and Joseph Anastasi, Tabla Rasa Gallery is dedicated to the visual arts as an expression of the human spirit and a voice for social issues. The gallery provides a non-intimidating, accessible, and community-friendly space for high-quality art viewing. It showcases works by emerging, mid-career, and established artists from Brooklyn, New York, and across the United States. Located in a turn-of-the-century carriage house in industrial Sunset Park, Brooklyn, the gallery hosts solo and group exhibitions encompassing various styles, themes, and media.
Exhibitions are free and open to the public. For the latest updates on events and scheduling, please call (917) 880 8337 or Audrey.TablaRasa@gmail.com.

Mirarnos desde el Este/Looking ourselves from the East, V Chinese Female Videoartists Festival
2025-05-16 19:00 - 2025-05-21 21:00 (America/New_York) | Cine Morelos, Cuernavaca, México, Av. Morelos 188, Cuernavaca, Morelos, 62000, Mexico
The Chinese Female Videoartists Festival was launched in 2015 in Mexico City, with participating artists from both mainland China and the diaspora. This 2025 we celebrate 10 years of continuous realization of this project, whose objective is to create bridges of knowledge between China and Spanish-speaking countries through the video art of its women. This time, the inclusion of video artists from Mexico, Peru, Spain and Costa Rica, intertwines our visions with the ones coming from the East and establishes a rich dialogue to look at all of us, and to be looked at.
Chinese, Hispanic and Latin American cultures, although geographically distant, share profound social and historical parallels. However, their paths differ significantly. Bringing these artists together in our festival allows us to perceive the existing convergences that unite us as women artists and strengthen both our creative and human paths.
The thematic axes we present arose naturally from the interests and concerns of the artists themselves: their own identity in ¿Qué es eso de ser yo? (What is this about being me?); the embrace of what has been in El asedio a la memoria (The siege to Memory), the relationship with the Earth in Éramos árboles (We were trees), the ambivalent mother/earth in Donde crece la hierba (Where the grass grows), and the exploration within uncertainty in El futuro fue ayer (Future was yesterday). As a curator, I never cease to be surprised by the different, yet complementary, approaches of all the proposals presented. The works reflect not only different perspectives on life and society, but also the technological resources and aesthetic education available to them. The Hispanic-Latin American artists tend to create raw and politically charged works that speak of resilience, denunciation and resistance, while the Chinese artists take advantage of cutting-edge technology to explore futuristic and immersive narratives, while drawing on their particular observation of the world and the memory of their ancestral traditions.
Our aim is to bridge understanding and friendship between our peoples through the artistic vision of their women, to foster dialogue and collaboration, and to inspire a new generation of artists to explore the intersections between tradition and modernity, local and global, past and future. This festival, therefore, is not only a celebration of women’s video art but a call to action: the world is already interconnected, let’s act for life. Art is the creative version of love.
Elizabeth Ross

Legendary: An Exhibition of Women Artists
2025-05-26 08:00 - 2025-08-30 17:00 (America/New_York) | The Stacy C. Sherwood Center, 3740 Blenheim Blvd, Fairfax, VA, 22030
Legendary: An Exhibition of Women Artists addresses these inequities and aims to rectify them by creating a safe space for women artists to meet, exhibit and engage with the public.
Featured artists:
Amber Bryson
Ann Pham
Antonella Manganelli
Anyamani “Yok” Wongkachonkitti
Astrid Reeves
Bobbi Horsens
Cheryl VanderMolen Neway
Debra Wright
Hana Yang
Heather Eberst
Jes Berry
Jessica Gardner
Jo Westfall
Kathleen Stark
Kelly Snyder
Kristina Kilgallen
Lori Saunders
Natalia Malley
Renee Sandell
Rosemary Gallick
Sarah Ernst
This exhibition will be on view from May 26 to August 30, 2025.

OPENING RECEPTION Legendary: An Exhibition of Women Artists
2025-05-28 17:30 - 19:30 (America/New_York) | The Stacy C. Sherwood Center, 3740 Blenheim Blvd, Fairfax, VA, 22030
Legendary: An Exhibition of Women Artists
In the United States, 51% of living visual artists are women, yet only 13.7% are represented in galleries. On average, women artists earn 81¢ for every dollar made by their male contemporaries. [Source: National Endowment for the Arts; Artnet Analytics; Maastricht University]
Legendary: An Exhibition of Women Artists addresses these inequities and aims to rectify them by creating a safe space for women artists to meet, exhibit and engage with the public.
Featured artists:
Amber Bryson
Ann Pham
Antonella Manganelli
Anyamani “Yok” Wongkachonkitti
Astrid Reeves
Bobbi Horsens
Cheryl VanderMolen Neway
Debra Wright
Hana Yang
Heather Eberst
Jes Berry
Jessica Gardner
Jo Westfall
Kathleen Stark
Kelly Snyder
Kristina Kilgallen
Lori Saunders
Natalia Malley
Renee Sandell
Rosemary Gallick
Sarah Ernst
This exhibition will be on view from May 26 to August 30, 2025.

Body in Action
2025-07-08 16:00 - 2025-09-06 18:00 (America/New_York) | Vila Velha Museum, Rua de Trás-os-Muros, Vila Real, 5000-657, Portugal
Beatriz Albuquerque presents her solo retrospective exhibition ‘Corpo em Ação’ (Body in Action) from July 12, 2025 to September 6, 2025 at Vila Velha Museum in Vila Real, Portugal.
Beatriz Albuquerque has a BA/BFA from Faculty of Fine Arts of Porto, an MFA from The School of the Art Institute of Chicago and a Doctorate from Columbia University, City of New York. Beatriz Albuquerque won multiple awards such as the Myers Award from Columbia University, New York, The Revelation Award at the 17th Cerveira Biennial, in Portugal as well as the ‘Ambient Series’ Award, PAC/Edge Performance Festival, Chicago.
This new solo exhibition showcases various interdisciplinary artistic and performative projects by Beatriz Albuquerque, such as Wonder Memories (Pilgrims of Memory) which is about the Portuguese diaspora; Crisis of Luck (Crisis in Luck), which won the Revelation Award at the 17th Cerveira Biennial, in which Beatriz offers the public a solution to all problems in the form of a fortune cake; or Activism (part of the Guerilla project) – a game and video art piece created to spark revolution and positive activism in all of us, which won the Myers Art Prize in New York and was selected by the director of the Casoria Contemporary Art Museum to be burned, in an act of protest, part of a campaign against austerity in art in Italy.
On July 12, 2025, at 4 pm, Beatriz Albuquerque will present a performance that is part of the exhibition, another of her ongoing projects, Trabalho de Graça (Work For Free). In this action, Beatriz offers the creation of a work of art requested by the participants. Each visitor will be able to order a piece, choosing from different media – painting, drawing, photography, performance, artist book, video, mail art, among others – and determine all the characteristics of the work. The only requirement is that the visitor provides the materials (canvas, paper, paint, etc.) and waits for the work to be completed. In some cases, the visitor will be able to witness the creation of the work. With this project, Beatriz Albuquerque continues to explore a desire to bring art closer to life and, simultaneously, our search for the democratization of art, thought and culture. Beatriz will close the exhibition with a performance scheduled for September 6, 2025 at 4pm.

Call for Proposals | TFAP@CAA 2026 Affiliated Society Session
2025-08-01 08:00 - 2025-08-29 17:00 (America/New_York) | OH
TFAP@CAA Call for Proposals
CAA 114th Annual Conference, Chicago, February 18–21, 2026
The Feminist Art Project Affiliated Society Session
Deadline: August 29, 2025
Feminist, Queer, and Trans Art Activists in Action!
Chairs:
Joanna P. Gardner-Huggett, DePaul University
Connie Tell, The Feminist Art Project
PLEASE FOLLOW THESE INSTRUCTIONS TO SUBMIT YOUR PROPOSAL FOR THIS IN-PERSON PANEL.
CAA MEMBERSHIP & CONFERENCE REGISTRATION REQUIRED FOR ACCEPTED PRESENTERS.
Important dates:
August 29th, deadline for proposal submissions
September 16th, notification of accepted proposals
For nearly twenty years, The Feminist Art Project has supported intersectional and inter-generational conversations regarding feminist, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance, in the 1970s, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available, and in 2001, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist, queer, and trans artists, activists, and scholars are being silenced in this political moment globally, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid, especially work overlooked in current art historical scholarship.
The CAA Annual Conference is the largest convening of art historians, artists, designers, curators, and visual arts professionals. Each year CAA offer sessions submitted by members, committees, and affiliated societies that deliver a wide range of program content. The CAA 114th Annual Conference will take place in Chicago Hilton February 18–21, 2026.

CFP: "Language and Text in Feminist Art Part III: East, South-East, and Central Asia, Asian Diasporas" / CAA 2026 Annual Conference
2025-08-06 - 2025-08-29 | OH
Seeking presentation proposals from art historians, writers, and artists. The CAA 114th Annual Conference will take place on February 18-21, 2026 in Chicago. In order to allow and encourage participation of scholars and artists from Asia, without the need to travel at great personal and ecological cost, our session will convene remotely. On the CAA CFP page you can find the session abstract (also pasted in below), watch instructional video, and click to upload your proposal: a 250-words-long abstract and a short bio. You can also include images. The deadline to apply is August 29.
THE SESSION ABSTRACT:
Language and Text in Feminist Art Part III: East, South-East, and Central Asia, Asian Diasporas
This session examines artworks exploring language from a gendered perspective—a subject that has lacked comprehensive treatment—to inspire new research in feminist art. It will analyze ways in which women (cis or queer) employ text and language as a means of feminist critique, across art mediums.
There is a stubborn belief that feminist art focuses on the image of the body. Meanwhile, the core of feminist art is conceptual and social practice; art that is designed not just to be looked at, but also to be acted upon. Text- or language-based art—including what Hélène Cixous called écriture feminine—has been its crucial component as women probe their erasure from historical texts, objectification in law, the experience of speaking a language as racialized and sexualized subjects, or the male-centrism of language, including AI and the internet.
The session is the last in the series of three; part of broader research that seeks to fill a gap in literature about feminist language-based art by privileging transnational, multigenerational, and intersectional comparisons, globally. The first session in 2024 provided a comparative perspective on the Middle East and North Africa; part II—on Latin America and the Caribbean. Part III in 2026 seeks scholarly analyses and artists’ presentations with a focus on the Far East, Central Asia, and Asian diasporas. Of equal interest are proposals regarding artists representing cultures where oral expression and poetry dominate the written, and those engaging with ancient traditions of calligraphy and secret languages of women; both sound-based and text-based projects.
Chair: Monika Fabijanska

Women Artists of the DMV
2025-08-29 18:00 - 20:00 (America/New_York) | The Joan Hisaoka Healing Arts Gallery, 1632 U St. NW, Washington, DC, 20009, United States
The Joan Hisaoka Healing Arts Gallery at the Smith Center for Healing and the Arts is pleased to be a participating gallery in Women Artists of the DMV. This exhibition will open on Friday, August 29th, with an Opening Reception from 6-8 pm. This event is free and open to the public, with light refreshments served.
Women Artists of the DMV
The Greater Washington, DC, capital region (the DMV) is not only home to some of the best art museums in the world, dozens of commercial art galleries, non-profit art spaces, alternative art venues, and art organizations, but it also supports and fertilizes some of the best and most creative visual art scenes in the nation.
In 2023, local DC-area curator, artist, and arts activist Florencio Lennox Campello proposed an ambitious exhibition celebrating the vibrant and diverse art scene across the three culturally rich areas which make up the DMV. The show would feature 100–150 works by an equal number of women artists, including both established figures and emerging talent. We’re thrilled to see this powerful vision come to life, honoring the depth, breadth, and brilliance of women artists in our community.
This exhibition is co-hosted by nine separate art spaces starting in late August 2025 for 6-12 weeks. More information here.
1632 U St. NW Washington, DC 20009.
Gallery open by appointment only.

FALL OF FREEDOM: Freedom of Expression
2025-11-15 - 2025-11-30 | OH
The “FALL OF FREEDOM: Freedom of Expression” exhibit is a Women’s Caucus for Art (WCA) national, pop-up, online art exhibition spearheaded by the WCA Art Activism Pod. The exhibit was inspired by the recent New York Times article, “Artists Respond to the Fall of Freedom” (October 14, 2025). The call invited WCA members to reflect on the theme, “Freedom of Expression”.
The Fall of Freedom project is an urgent call to action—asking the arts community to unite in defiance of the authoritarian forces sweeping the nation. On November 21 and 22, galleries, museums, libraries, comedy clubs, theaters, and concert halls across the country will host exhibitions, performances, and public events that channel the urgency of this moment. To join in, WCA Art Activism Pod is hosting an online Artist Reception and Gallery Tour.
To learn more about Fall of Freedom Project, visit falloffreedom.com.
The exhibit is on view November 15-30, 2026.

Strength and Visibility: Curating Women Artists between Past and Present
2025-11-15 17:00 - 19:00 (America/New_York) | Brasov Art Museum, Bulevardul Eroilor 21, Brașov 500030, Romania
Museum of Art Brașov, Romania and 4Culture Association invites you to the conference “Strength and Visibility: Curating Women Artists between Past and Present”, a dialogue between Andreea Căpitanescu and Olivia Nițiș. The discussion offers a framework for reflection on visibility, continuity, and critical positioning, bringing to the forefront the need to recover and integrate the contributions of women artists into the broader narrative of Romanian art. Andreea Căpitănescu is a cultural producer, independent curator and artistic director, active since 2005. Founder of the 4Culture Association, she initiated eXplore Festival – the first contemporary dance and performance festival in Romania – and created the independent space WASP – Working Art Space and Production in Bucharest. Her activity is carried out within European networks and platforms, through programs that support contemporary artistic creation, international collaboration, artistic research, education and support for emerging artists. She holds a PhD in Visual Arts (UNARTE, 2024), a Master in Project Management in English (SNSPA, 2022), a Master in Contemporary Performance Direction (UNATC, 2005–2006) and a Bachelor’s degree in Choreography (UNATC, 2004). She was a danceWEB 2006 scholarship holder at ImPulsTanz Vienna. He curated the performing arts program of Europalia Romania (Brussels, 2019–2020) and coordinates projects such as Life Long Burning, Jardin d’Europe, Emerging Towards (Future) and Exploring Plurealities. Olivia Nițiș is a researcher at the “G. Oprescu” Institute of Art History of the Romanian Academy, coordinator of the Modern and Contemporary Visual Arts and Architecture department, independent curator, art historian. She is the vice-president of the Experimental Project Association, member of the International Association of Art Critics since 2009. She is interested in the various aspects of gender discourse in the historiography of Romanian art and in Eastern Europe, with contributions related to women artists and gender representation in modern and contemporary art, the relationship between art and politics, the relationship between art and science. She is the author, editor and co-editor of several articles and publications on contemporary art. She is the author of the volume “Marginal Histories of Feminist Art”, Vellant, Bucharest, 2014 and co-editor of a volume dedicated to the conceptual artist Decebal Scriba (Kettler, Germany 2017). She was co-curator (with Martina Munivrana) of the solo exhibition of Croatian artist Sandra Sterle at the Museum of Contemporary Art in Zagreb (MSU) in 2023, and in 2024 she was the initiator and curator of the Romanian-Czech conceptual art project A Spring of Hope a Winter of Despair (Faber, Timișoara and Pragovka, Prague). The event is part of the project “Virtual Museum of Art under Communism. Perspectives on a Controversial Heritage”, carried out by the Brașov Art Museum and co-financed by the National Cultural Fund Administration, which aims to open the artistic heritage of the communist period to critical and current interpretations. In this context, the discussion brings to attention the presence and contribution of women artists in the history of Romanian art, analyzing the way in which their works were collected, contextualized and viewed in relation to the dominant discourses of the era. The conference anticipates the opening of the “Tower of Strength” exhibition, which will be inaugurated at the Brașov Art Museum on December 5, 2025, and proposes an open dialogue between history, research and current artistic practice, within the Compulser Lab project initiated by the 4Culture Association and co-financed by the National Cultural Fund Administration.

Diasporic Worldings: Gabriela Aceves Sepúlveda
2025-11-18 08:00 - 2026-02-16 17:00 (America/New_York) | Urban Screen at Libby Lesghold Gallery, ECUAD, 520 East 1st Avenue, Vancouver, British Columbia, V5T 0 H2, Canada
Diasporic Worldings is an experimental video by Gabriela Aceves Sepúlveda that explores the experiences of people in the diaspora as they form and imagine relationships with land, place, territories, and ecosystems. It uses the term “diasporic” as an adjective to describe those who belong to a diaspora due to either forced or voluntary migration and “worlding” as a creative process where “worlds” develop through ongoing engagement and interconnections with humans and more-than-humans. Inspired by Martinican philosopher Édouard Glissant’s distinction between archipelagic thinking as fragmentary and intuitive and continental thinking as all-encompassing and systematic, and Mexican writer Cristina Rivera Garza’s use of frottage drawing as a mnemonic technique to recover an embodied connection to place, the video features actions performed on camera and images involving different approaches to map-making.

2025 Anonymous Was A Woman Awards
2025-11-19 08:00 - 2026-11-01 17:00 (America/New_York) | OH
Anonymous Was A Woman awards $750,000 to 15 women artists over the age of 40, who each receive $50,000 in recognition of their work
The 2025 award follows AWAW’s landmark survey and symposium addressing the lives and careers of women artists
November 19, 2025—Anonymous Was A Woman (AWAW) today announced the recipients of its 2025 awards, recognizing 15 artists over the age of 40 who have made significant contributions while continuing to create new work. Each recipient receives an unrestricted award of $50,000. Founded in 1996 by artist Susan Unterberg, Anonymous Was A Woman supports woman-identifying artists at critical points in their lives and careers. The organization has awarded more than $8 million to over 300 artists since its inception. This year’s recipients range in age from 41 to 83, and include artists working in a variety of mediums across the U.S. Earlier this year, AWAW released the results of the Anonymous Was A Woman Artist Survey—a landmark study conducted in partnership with journalists Charlotte Burns and Julia Halperin and SMU DataArts—which synthesized responses from over 1200 artists to provide a nuanced portrait of the challenges and successes of women artists today. The findings were presented at Artists Speak: The Anonymous Was A Woman Symposium, a convening at New York University in April 2025 that brought together artists, curators, and advocates to discuss systemic inequities and strategies for change. “This year marks a moment of both reflection and action,” said Susan Unterberg, founder of AWAW. “The insights from our inaugural survey and symposium have deepened our understanding of what women artists need to thrive, and reaffirmed the urgency of continuing to provide direct, unrestricted support. At a moment when the arts and the rights of women are under threat, I’m honored to recognize this year’s extraordinary group of artists—each of whom expands the field in profound and original ways. I started Anonymous Was A Woman partially in response to the end of federal funding to individual artists. Nearly thirty years later, that same need motivates us to continue our work of uplifting women artists in mid-career.”
The 2025 Anonymous Was A Woman Award recipients are:
Candida Alvarez
Ambreen Butt
JoAnne Carson
Cecelia Condit
Lola Flash
Sonya Kelliher-Combs
Michelle Marcuse
Park McArthur
Nicole Miller
Narcissister
Dhara Rivera
Linda Stark
Kunié Sugiura
Hong-Ân Trương
Paula Wilson

Ecoarte: South Geopoetics: Art, Gender and Biocultural Transformation in a Contemporary Latin American Context
2025-11-21 18:00 - 21:00 (America/Mexico_City) | OH
EcoArte Exhibition: South Geopoetics
Collective exhibition
CURATORIA Lilian Amaral
Artists Participants: Brazil + Colombia + Costa Rica
Ana Akaui – Ana Cristina Mendes – Cecília Calaça – Clarisse Tarran – Ivonne Villamil (Colombia/Spain) – Laurita Salles, Lilian Amaral & Bia Santos – Lucia Madriz (Costa Rica/Germany) – Luisa Giraldo Murillo (Colombia) – Lynn Carone Marina Jerusalinsly & Ana Basaglia – Nivalda Assunção & Armando Queiroz – Susan Campos-Fonseca (Costa Rica) Suzete Venturelli – Studio Urubu – Tania Fraga – Val Sampaio Ligia Oviedo Zúñiga MAP.
“Ecoarte: South Geopoetics: Art, Gender and Biocultural Transformation in a Contemporary Latin American Context”
Cured by Prof. Dr. Lilian Amaral | DIVERSITAS USP
We live in a constantly changing world that pushes us forward, forgetting the past and those who came before us. Public institutions and museums, in particular, as places that host the memory of collective heritage, have the social, cultural and ecological responsibility to preserve this memory on the basis of equality, equity, sustainability and interculturality.
The Nomadic Chair of Research-Creation | Diversitas USP has as perspective the research, reflection and the poetic-political action around the active presence of women in art, science and education, from the artivist curatorship and the collaboration of artists-researchers from different parts of the world, as promoters of artistic practices located horizontally, breaking hierarchies, with special focus in the Global South.
“Ecoarte: South Geopoetics: Art, gender and biocultural transformation in a contemporary Latin American context”, derives from the project of art, ecology and technology EcoArte: Terra em Trânsito, carried out throughout the year 2024 in Brazil and Spain. It proposes to expand and deepen the experiences, processes, methods and links between artists, researchers, artists, environmentalists and teachers, through processes of creation and economic research, directly involving issues that articulate the body, ecology, memory and technodiversity, putting in dialogue different cosmoperceptions and forms of care, highlighting the interdependence between different forms of human and non-human existence.
Considering the geopoetics, polyphony and transdisciplinarity of artistic and socio-environmental contexts focused on South and Central America, the works presented are shared in the Virtual Exhibition and analyzed in hybrid and face-to-face encounters, pointing to the intrinsic relationship between human being, nature and culture in their deep connections, awakening understanding and awareness about the ecological, biopolitical and interspecific dimensions involved in the global environmental/climatic agenda.
Art, as a catalyst for awareness and critical reflection on territories in emergency situations, has the unique ability to go beyond scientific data, appealing to the sensitive and emotional experience to generate deeper and more transformative involvement. In this scenario of biocultural and geopolitical mutations, geopoetics emerges as a fundamental perspective. It is not just a static representation of geography, but a dynamic way of inhabiting and understanding territories in emergency, activating urgent dialogues about our responsibility and our deep connection with the planet. In this context, poetic action becomes a powerful “artivism”, a practice that goes beyond contemplation to transform scientific knowledge and complex data into experiences capable of mobilizing consciousness and action, awakening “states of presence”.
It is a call for a culture of care, where art not only reflects the global climate crisis, but also invites us to actively inhabit it and reinvent our relationships with the environment and with others. It is a call for a technical invention that, as Simondon and Yuk Hui teach us, is aware of its impact and fosters the diversity of technological and poetic approaches, seeking true sustainability and mutual flourishing.
EcoArte thus presents a geopoetic and technodiverse panorama through sound and visual works that expand the contours and materialities of the making and point out the profound transformations of the present, crossing languages, media and contexts: photographs, embroidery, painting, performance, videoperformance, animation with use of AI, video art, created by 20 female artists | collectives of different Latin American origins, integrating a program activated by Exhibition
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“EcoArte: Geopoéticas del Sur. Arte, género y medio ambiente”

En el marco de la exhibición online “EcoArte: Geopoéticas del Sur. Arte, género y medio ambiente”, que se inaugura el 22 de noviembre en el Museo de las Mujeres, se celebra el IV Festival de VideoArte Museo de las Mujeres “Ecoarte y comunidades 2025” una muestra audiovisual que reúne las voces de artistas mujeres de Brasil, España y Costa Rica se unen a comunidades en Honduras, la costa pacífica de Costa Rica, y un Colegio Nocturno del caso urbano de Costa Rica para poner sobre la mesa la necesidad de ampliar el espacio para los discursos de cuidado, preservación, convivencia pacífica con el medio ambiente como un acto político.
A través de tres bloques curatoriales, el festival propone un espacio para reflexionar sobre diversas perspectivas críticas y poéticas: cuerpo, territorio, memoria, extractivismo, biodiversidad y prácticas de cuidado.
Además de la proyección de obras, se realizarán breves conversatorios con artistas y colectivos participantes, por un diálogo directo sobre los procesos de creación, y las luchas ambientales que atraviesan sus prácticas.
Desde la denuncia hasta la celebración de lo natural, esta edición del festival busca visibilizar las miradas ecofeministas, interseccionales y comunitarias que emergen desde el arte contemporáneo en América Latina y España
Esta actividad forma parte del Art City Tour y es posible gracias al apoyo de la Cátedra Diversitas de la Universidad de São Paulo, el Museo de las Mujeres de Costa Rica y nuestro anfitrión el Centro Cultural de España en Costa Rica.
Programa
6pm. Recepción, bienvenida y presentación curatorial
6:25pm. Bloque 1
1. Arriskua, 4’28», por Ivonne Villamil
Arriskua es un diálogo desde la escucha meteorológica, la navegación, las fronteras invisibles, las predicciones del tiempo. Reúne sonidos de la tierra y del cosmos, voces de cuerpos y materias que vibran entre sí, y lecturas (en euskera) de reportes meteorológicos. Una suma de fenómenos, fuerzas y seres que coexisten de un modo casi aleatorio e impredecible. La pieza sonora es creada en colaboración con Jimmy Solórzano y Alba Fernández.
2. Mulheres na Luz, 2’01», por LiIlian Amaral y Bia Santos
Mulheres na Luz es un acto poético-político de videoarte y arte público creado por Lilian Amaral y Bia Santos en São Paulo. Visibiliza la lucha de mujeres trabajadoras y en prostitución mediante una procesión performática colectiva, inscribiendo sus cuerpos, voces e historias en el espacio urbano como gesto de resistencia.
3. EntreMundos: Videoperformance, ecologia, subjetivação na criação de uma heterotopia, 5’04», por Lynn Carone
EntreMundos es una videoperformance que explora desplazamientos y metáforas del lugar mediante el cuerpo en acción y la tecnología. Combina espacios reales y utópicos, creando una ecología interior y heterotopía, donde lo humano y no humano dialogan a través de imagen, animación y sonido en un espacio simbólico y sensorial.
4. Flores, Memoráveis Momentos na Mente de um Demiurgo?, 5’04», por Tania Fraga
El ensayo reflexiona sobre la poesía como acto de creación en arte computacional. Presenta imágenes donde las flores simbolizan la vida y la tensión entre caos y orden. Estas obras invitan a experimentar y deleitarse, revelando la unión de opuestos y la evolución poética del demiurgo creador
5. Cavalo – Banano – Coco, 4’01», por Suzete Venturelli
Trabaja en arte computacional, realidad virtual, inteligencia artificial e interactividad, integrando ciencia, tecnología y creación artística. Coordina el grupo de investigación Arte Computacional Bioinspirada (CNPq) y desarrolla proyectos, exposiciones y publicaciones que exploran la relación entre arte, tecnología y naturaleza desde una perspectiva innovadora y multidisciplinaria.
6:55pm. Breve conversatorio con artistas creadoras
7:10pm. Bloque 2
6. No mar do céu, 4’04» por Arte coletivo
En el mar del cielo es consecuencia de la inmersión «danza y mar» con Beth Bastos y Mnrena Nascimento, en el Studio Urubu, en Picinguaba – Ubatuba, SP. Se trata de una investigación sobre el movimiento en espiral y su relación con el mar. Las imágenes fueron captadas durante una tarde de descanso entre las actividades de la inmersión.
7. Aguas de àl-mar, 4’04», por Laurita Salles
Águas de al-mar es una obra de videoarte que explora el movimiento del agua como metáfora emocional. A través de montaje y sonido electroacústico, crea un flujo audiovisual sin horizonte ni paisaje, articulando cine expandido con ritmos visuales y sonoros que invitan a una experiencia sensorial libre y poética.
8. The End, 1’44», por Lucía Madriz
La obra de Lucía Madriz aborda el biocolonialismo y la lucha indígena por la autodeterminación frente a la apropiación de recursos genéticos. Su arte denuncia la mercantilización de la vida y plantea la sostenibilidad como única vía posible hacia el futuro, tanto del arte como de la humanidad.
9. Quebrada Amarilla Video Arte, 4’19», por Susan Fonseca Campos
Esta obra, parte del “Extended Quijongo Project”, es un videoclip que simboliza la simbiosis entre plantas y terrenos industriales abandonados. Dirigido por Julián de la Chica y Rafael Chinchilla, es una canción de resistencia contra la destrucción de la Tierra causada por intereses humanos y transnacionales.
10. Une danse teintée violet / La creación de la maternidad, 2’02», por Colectivo a.capello.gva
Une danse teintée violet / La creación de la maternidad es una danza colectiva de mujeres de diversas nacionalidades, incluyendo costarricenses, que usan el método Dalcroze. Sus cuerpos son instrumentos que resuenan la vida y la maternidad, explorando la creación desde el ser vivo hasta la experiencia femenina.
7:45pm. Breve conversatorio con artistas creadoras
8pm. Bloque 3
11. El eco del fuego: San Juancito pinta voces con alas, 5», por Kelvyn RehMar
Kelvyn RehMar rescata trozos quemados de árboles del Parque Nacional San Juancito, Honduras, para crear tintas orgánicas con las que pinta aves que representan a los animales víctimas de incendios forestales. Su instalación, junto a un importante río que abastece Tegucigalpa, recuerda y honra a estas especies invisibilizadas durante las grandes tragedias forestales.
12. Aulas urbanas, problemas de la costa: más voces para Gandoca, 15», por el Colegio Nocturno de Desamparados
Estudiantes del Colegio Nocturno de Desamparados crean un video y podcast crítico sobre La Loca de Gandoca de Ana Cristina Rossi. Esta experiencia reflexiona sobre la convivencia con la naturaleza desde un barrio urbano de San José, fomentando sensibilidad literaria y nuevos vínculos entre lo urbano y rural.
13. Manos de mujeres cuidan el Pacífico, 12», por Mariposas del golfo
La Asociación de Mujeres Mariposas presenta su experiencia con el extractivismo, mostrando la realidad y esperanza de que convivir con los recursos costeros, en armonía con el medio ambiente y sin explotación, es posible donde exista respeto y cuidado ecológico y social.
8:30pm. Conversatorio breve con creadores gestores de honduras, mujeres pescadoras y estudiantes creadores de contenido del Colegio Nocturno de Desamparados
8:45pm Cierre del festival y palabras finales

Sobre las entidades organizadoras
El Museo de las Mujeres de Costa Rica, fundado en 2009, es una institución pionera en Centroamérica dedicada a la visibilización de las mujeres en el arte, la historia y los movimientos sociales. Es una filial activa de la Red Internacional de Museos de Mujeres (IAWM por sus siglas en inglés), lo que le permite conectar su trabajo local con agendas globales por la igualdad de género, los derechos humanos y la justicia ambiental. Desde su espacio físico en San José y sus plataformas digitales, el museo desarrolla exposiciones, archivos, investigaciones y actividades educativas con perspectiva feminista e inclusiva.
La Cátedra Diversitas: Disidencias Sexuales, Género y Derechos Humanos de la Universidad de São Paulo (USP) es un espacio académico y de articulación social que promueve la investigación, formación y divulgación en torno a temas de género, sexualidad, derechos humanos, interseccionalidad y justicia social. Vinculada a la Facultad de Filosofía, Letras y Ciencias Humanas, impulsa proyectos interdisciplinarios con impacto regional y latinoamericano, fortaleciendo redes entre universidades, colectivos, artistas y comunidades. Desde un enfoque crítico y descolonial, la cátedra busca ampliar los marcos de comprensión sobre las disidencias y luchas por equidad, posicionando el conocimiento como herramienta de transformación social.

Rejoinder Open Call
2025-11-26 00:00 - 2026-01-15 00:00 (America/New_York) | OH
Rejoinder Open Call: Issue 11
DEADLINE: January 15, 2026
Ritual, Healing, and World-Making

How do we mark transitions, generate transformational visions, and model alternate ways of being in a world imploding around us? How do we find joy while surrounded by brokenness? How do we heal when systems are structured against us? What rituals or practices can restore us, even speak to our souls? The next issue of Rejoinder explores the theme of ritual, healing, and world-making. Submissions (including essays, commentary, criticism, fiction, poetry, and artwork) should address this theme from feminist, queer, and social justice-inspired perspectives. We particularly welcome contributions at the intersection of scholarship and activism. For manuscript preparation details, please see our website at: http://irw.rutgers.edu/about-rejoinder. Rejoinder is published by the Institute for Research on Women at Rutgers University in partnership with the Feminist Art Project. Please send completed written work (2,000-2,500 words max — MS Word), jpegs of artwork, and short bios to irw@sas.rutgers.edu with “Rejoinder Submission” in the subject line by January 15, 2026.

Bailey Doogan: Ways of Seeing
2026-01-17 - 2026-04-04 | University of Arizona Museum of Art, 1031 North Olive Road, Tuscon, AZ, 85719, United States
The University of Arizona Museum of Art presents “Bailey Doogan: Ways of Seeing,” the first comprehensive survey to showcase selections from every phase of the late artist’s prolific career. A celebrated painter, graphic designer, and Professor Emerita, Bailey Doogan (1941–2022) was a pivotal figure in the feminist art movement, using her work to interrogate traditional conventions of female beauty and the politics of the aging body.
This exhibition features 80 works that span Doogan’s evolution from surrealist experimentation to her monumental, unflinching figurative paintings. Central to her practice was the belief that “our bodies are diaries of our experience”. By centering wrinkles, scars, and the physical realities of the female form—subjects historically marginalized in Western art—Doogan’s work opens vital conversations about representation, self-examination, and the power of the female gaze.

Featured Feminist Programming

Exhibition Reception: Thursday, January 22, 2026 | 5:00 PM – 7:00 PM
Panel Discussion: Friday, January 23, 2026 | 4:30 PM – 5:30 PM. Featuring Terry Etherton, Doug Nielsen, Cynthia Miller, and Ann Simmons-Myers; moderated by curator Violet Rose Arma.
Virtual Talk: “Horror and Humor: Bailey Doogan and the Feminist Revolution”Thursday, February 5, 2026 | 5:00 PM – 6:00 PM. Art critic Eleanor Heartney examines how 1980s feminist thinking shaped Doogan’s strikingly original outlook on gender, power, and the body.

Curators: Violet Rose Arma and Olivia Miller, in close consultation with Moira Doogan.

TFAP@CAA 2026 Business Meeting and Mixer
2026-02-20 13:00 - 14:00 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA 2026 Business Meeting and Mixer
Friday, February 20 | 1:00pm – 2:00pm
Lower Level, Salon C-5, Hilton Chicago
Free and open to the public
Join the WCA TFAP caucus during our Affiliated Society business meeting slot for a social mixer. Connect with friends and colleagues, meet new people, and learn about TFAP!

TFAP@CAA 2026 Affiliated Society Session | FEMINIST, QUEER, AND TRANS ART ACTIVISTS IN ACTION!
2026-02-20 16:30 - 18:00 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA 2026 Affiliated Society Session
Feminist, Queer, and Trans Art Activists in Action!
Chairs:
Connie Tell, The Feminist Art Project
Joanna Gardner-Huggett, DePaul University

Friday, February 20, 2026, 4:30-6:00pm
Williford C (3rd Floor), Hilton Chicago
*CAA Conference Registration Required.
College Art Association 114th Annual Conference | Chicago, February 18–21, 2026
For nearly twenty years, The Feminist Art Project has supported intersectional and intergenerational conversations regarding feminist, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance, in the 1970s, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available, and in 2001, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist, queer, and trans artists, activists, and scholars are being silenced in this political moment globally, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid, especially work overlooked in current art historical scholarship.
Panelists:
“Queer Archives from South Bend: Archiving as Protest and Preservation”
Jason Daniels and Grace Hamilton
In 1971, Gloria Frankel, a cab driver from New York City, established South Bend’s first drag bar, the Seahorse Cabaret. Her visionary leadership and mentorship profoundly shaped the growth of queer and drag spaces throughout the Michiana region. Exploration of drag history, both locally and internationally, reveals its socio-cultural significance and the urgent need to preserve the narratives of drag performers.
Recognizing the impact of drag performers on queer communities, archival work serves to safeguard and celebrate this vibrant cultural heritage. The archive functions as both a visual and narrative repository, capturing the evolution of drag and its broader implications for community identity, resilience, and visibility.
Beyond the glittering façade of sequins and performance, spaces such as the Seahorse have operated as stages where political activism and social resistance converge. Frankel created inclusive environments that enabled community members to engage safely and creatively, fostering a sense of belonging often absent in small-town contexts. Her story represents a necessary pillar of South Bend’s history, and preserving it counters the erasure of queer memory, particularly amid political attacks and cultural neglect targeting LGBTQ+ archives.
Through oral histories, artifact collection, and storytelling, this project positions archiving as both preservation and protest, emphasizing that queer memory is essential for sustaining future generations and supporting ongoing acts of cultural and political resilience.
“A Model of Mutual Aid within Protest: Betsy Damon, Alison Knowles and The Lesbian Art Show”
Christine A. Filippone, Millersville University
Lesbian, feminist artist Betsy Damon was among the eighteen artists included in The Lesbian Show (1978), one of the first exhibitions of lesbian art curated by Harmony Hammond at White Columns on Greene Street, New York City. Damon’s sculptural installation for the show was titled Ancestors, which, like her famed street performance 7,000 Year Old Woman, honored all the women who had come before her. Ancestors was comprised of a set of life-sized plaster body casts of her collaborators, her community, seated together on a bed of sand around a ring of colored bags filled with flour. Carrying the giant body casts into the gallery, Damon explained, was a process of “bringing the ancestors back.” In a performance organized for the show, Damon’s flesh and blood community performed in various poses amidst the plaster casts, among them her friend, Fluxus artist Alison Knowles. Enamoured with Betsy’s bags, Knowles proceeded to borrow them for years or her own works including Bean Bag, Printed Editions, 1978. This small act of mutual aid set within a groundbreaking activist exhibition organized, as Hammond wrote, to make “lesbian artists visible to each other as well as to the women’s community”, is a microcosm of the commitment to community Damon’s life and work has evidenced to this day. To honor this act and Knowles’s and Damon’s lifelong friendship, I will present this paper in collaboration with my friend art historian Hannah Higgins, the daughter of Alison Knowles.
“Text, Textile, and Action: Collective Strategies in Latin American Art”
Jacqueline R. Witkowski, Western Washington University
Textility, or the relationship of materials and the forces they embody, is a term useful for thinking about how textiles intersect with systems of thought (Ingold 2010). In its contemporary resurgence, fiber art has been increasingly understood in connection with “text,” highlighting its communicative force and operation as a form of language. Textiles, like writing, transmit meaning through material processes, embodied gestures, and collective memory.
The focus of this paper is on the practices of two artist collectives: Pontos de Luta from Belo Horizonte, Brazil, and Cooperativa Gráfica La Voz de la Mujer from Buenos Aires, Argentina. Both employ the interplay of fiber and writing to confront persistent restrictions on political, gendered, and identity-based freedoms in their national contexts. Their practices foreground marginalized and disappeared populations, positioning fiber and craft as central to struggles over visibility, testimony, and resistance. These initiatives engage with historical genealogies of clandestine and gendered media in the region, from the arpilleristas in Chile who denounced the dictatorship through their embroidery, and the early feminist print collective in Argentina, La Voz de la Mujer.
By situating these two collectives within a transnational history of politically engaged fiber and print, this paper asks: How might text and textile operate together as resistant forms of language? And how do women-centered collectives mobilize these mediums to generate shared vocabularies of protest and survival?
“The Aravani Art Project: Transgender Awareness Through Art in India”
Anindita Sengupta
The Aravani Art Project is a trans-women and cis-women led art collective that works on creating awareness about the transgender community and changing the way Indian society views the LGBTQIA+ community. In India, “transgender” often refers to the Hijra community, a traditional “third gender” group recognized by the government since 2014. The community faces severe and traumatic social stigma, discrimination, and marginalization. Many live in self-formed communities, excluded from mainstream occupations and society. This will be an extremely enlightening addition to discuss trans rights in the global south and how people there are addressing them through art.

TFAP@CAA 2026 Special Session | OUTCRY: ALCHEMISTS OF RAGE
2026-02-21 11:00 - 12:30 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA 2026 Special Session
OUTCRY: Alchemists of Rage
Short documentary film screening & conversation with the film subject, producer, and creator of OUTCRY, Whitney Bradshaw
Chair: Kathleen Wentrack, The City University of New York, Queensborough CC
Moderator: Rachel Middleman, California State University, Chico

Saturday, February 21, 2026, 11:00am-12:30pm
Boulevard A/B (2nd Floor), Hilton Chicago
*Free and open to the public.
College Art Association 114th Annual Conference | New York City, February 18–21, 2026
The Feminist Art Project is thrilled to host a special screening of OUTCRY: Alchemists of Rage, an impactful short documentary film that highlights the power of art to drive social change. On Saturday, February 21, TFAP will host an in-person screening of the 30-minute film during the 2026 CAA conference followed by a conversation with the film subject, producer, and creator of OUTCRY, Whitney Bradshaw and Kathleen Wentrack, TFAP Managing Committee member.
OUTCRY: Alchemists of Rage follows artist and former social worker Whitney Bradshaw as she photographs women, non-binary, and genderqueer people mid-scream in cathartic group sessions where long-silenced stories conjure rage, sorrow, and joy. The film offers a visceral rallying cry for the revolutionary power of women and non-binary people’s voices.
The film is directed by Clare Major and produced by Whitney Bradshaw and Frankly Speaking Films. The score was composed by Paris Hurley of Object as Subject. Paris Hurley also did the score for Kristen Stewart’s new film The Chronology of Water. An adaptation of Lidia Yuknovitch’s acclaimed memoir. Out in theaters now. OUTCRY: Alchemists of Rage made the International Documentary Association (IDA) 2024 Shortlist for Best Short Documentary Film.
Join us to watch and discuss this powerful film!
______________
Whitney Bradshaw (she/her) is an artist, activist, educator, curator, former social worker and the subject and producer of OUTCRY: Alchemists of Rage (2024). Her work has been shown widely across the United States including solo shows at Atlanta Contemporary, the Berkeley Art Museum and Pacific Film Archive, the DePaul Art Museum, Wave Pool Contemporary Art Fulfillment Center, and the 21c Museum Hotel Louisville. The Museum of Contemporary Photography, the DePaul Art Museum, Northwestern University Pritzker School of Law, Hall Art and Technology Foundation, and Sara M. and Michelle Vance Waddell collect her work, which has been published in Ms. Magazine, the New York Times, the Chicago Tribune, and Vogue. In 2023, Bradshaw was named one of NewCity Magazine’s 50 Chicago Artists’ Artists. She is currently the curator at the Lubeznik Center for the Arts in Michigan City, Indiana.

Call for Art: Body Sovereignty
2026-03-20 08:00 - 2026-04-18 23:30 (America/Chicago) | ARC Gallery, 1463 W Chicago Ave, Chicago, IL, 60642, United States
Call for Art: Body Sovereignty
Curator: Danni O’Brien
Application Deadline: Saturday, April 18, 2026
The body has always been contested territory. Legislated, pathologized, fetishized, disciplined — the body and its desires have rarely been left in peace, let alone in the control of the people who inhabit them.
Body Sovereignty is an exhibition about who owns our body, its expression and its sexuality.
ARC Gallery invites artists working across all media to submit work that claims for itself a radical ownership over sexuality, desire, and bodily identity. We are interested in art that refuses to be tamed — work that finds the erotic in the accidental, the absurd, the domestic, and the discarded. Work that borrows the visual language of instruction and mechanism only to subvert it. Work that is bold in its irreverence, polymorphic in its affect, and unafraid to blur lines between innocence and perversion, function and fantasy, the handmade and the found.
We are drawn to art that treats the body not as subject matter but as site of survival — art assembled from cultural cast-offs, scavenged and repurposed into something fantastical and alive. Art that is cheeky and meditative in equal measure. That takes months to resolve what was gathered intuitively. That arrives slowly at something unsettling and true.
Body Sovereignty is not about shock. It is about depth of feeling — about understanding, as Audre Lorde wrote, that the erotic is a measure of our most expansive sense of self.
We Welcome Work That:

Claims ownership over desire, sexuality, and gender on one’s own terms

Plays at the intersection of the bodily, the mechanical, and the domestic

Transforms everyday materials into something visceral and alive

Explores queer identity, conspicuous consumption, and bodily survival through a fantastical or absurdist lens

Engages the erotic through abstraction, humor, tenderness, or the uncanny — not necessarily through explicit imagery

Refuses easy categorization and sits comfortably at the edge of innocence and perversion, play and politics

Media

All media welcome, including sculpture, assemblage, ceramics, collage, painting, drawing, fiber arts, printmaking, papermaking, video, and installation. We are especially excited by hybrid works and interdisciplinary practices.

Deadline for Submission of Applications: Saturday, April 18 2026 at 11:59pm CST

Notification of Acceptance: By email on May 6, 2026

Delivery of work to ARC: Thursday & Friday May 28 & May 29, 2026, 2-6pm; Saturday, May 30, 12-4pm

Pick-Up Work at Gallery: Saturday, June 27, 2026, 2:30-4pm

Shipped Work Return Date: First two weeks of July (determined by the delivery method)

*Pre-Paid FedEx or UPS return label is required

*Do not use the U.S. Postal Service

About the Curator: Danni O’Brien
Danni O’Brien (she/they) is a queer, interdisciplinary artist based outside Baltimore, MD. Through scavenging and collecting, O’Brien builds enigmatic sculptures and reliefs from found objects, vintage patent diagrams, handmade paper pulp, ceramics, and the cast-offs of consumer culture. Her work grapples with queer identity, dystopian survival, and conspicuous consumption — playful and absurd on the surface, deeply meditative underneath. O’Brien has exhibited at the Museum of Contemporary Art Arlington, Asya Geisberg Gallery, Hamiltonian Gallery, and the Virginia Museum of Contemporary Art, and has held residencies with The Wassaic Project, Baltimore Clayworks, the Elizabeth Murray Artist Residency, Byrdcliffe Colony, and Stove Works, among others. She is the recipient of Individual Artist Grants from the Belle Foundation for Cultural Development and the Maryland State Arts Council.
Visit Dani @ www.danielleobrienart.com
Opening Reception, Friday, June 5th, 5:00-8:00pm

Exhibition dates: June 5-26, 2026

Gallery hours: Thurs – Fri 2-6pm, Sat – Sun 12-4 pm

This program is partially supported by a grant from the Illinois Arts Council Agency.

JAZ GRAF - IMMANENT FRAY
2026-04-25 14:00 - 2026-05-30 16:00 (America/New_York) | Morton Fine Art, 52 O St NW #302, Washington, DC, 20001, United States
IMMANENT FRAY
New Multi-Layered Paper Pulp Artworks by JAZ GRAF
April 25th – May 30th, 2026
Opening reception 2pm-4pm on Saturday, April 25th, 2026.
The artist will be in attendance. Please RSVP to info@mortonfineart.com
Morton Fine Art, 52 O St NW #302, Washington, D.C. 20001
Contact the gallery for viewing Tuesday – Saturday by appointment, price list, additional information and acquisition.
(202) 628-2787 (call or text)
www.mortonfineart.com
info@mortonfineart.com
IMMANENT FRAY
A state of fray captures that in-between moment when possibility is becoming and certainty unwinds. This body of work is a deeper look at, into and across the raw edges of things. Under a magnified lens, paper appears as a complex, interconnected web of fibers. Poetically, Thich Nhat Hanh described this as interbeing. I explore relationalities through material such as mulberry fiber, silk, and worn sacred cloth, engaging with the cultural narratives they embody. Cloth that has been worn by people can speak to subtle sensory worlds, steep us in symbolism or stories of the past, ushering forth new rituals. Taking form as dendritic extensions, stitching motifs, veils of pulp, or imperceptible orange specks of fabric, edges converge to become more than the sum of their parts. The intertwining network is a transitional zone, a dynamic interfacing between matter and metaphysical epistemologies. All edges are flows of fray. Impermanence as no arrival of home, yet emergence, ever-present.
~Jaz Graf
