Alexandra Bell

Alexandra Bell is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs language and imagery to explore the tension between marginal experiences and dominant histories. Through investigative research, she considers the ways media frameworks construct memory and inform discursive practices around race, politics, and culture.

Alexandra Bell was born in 1983 in Chicago. She holds a BA in interdisciplinary studies in the humanities from the University of Chicago and an MS in journalism from Columbia University. 

Her work has been exhibited at Jeffrey Deitch Gallery, New York; Charlie James Gallery, Los Angeles; MoMA PS1, New York; We Buy Gold, New York; Koenig & Clinton Gallery, New York; The Nathan Cummings Foundation; Atlanta Contemporary; Pomona College Museum of Art; Spencer Museum of Art, University of Kansas; and Usdan Gallery at Bennington College. She received the 2018 International Center of Photography Infinity Award in the applied category and is a 2018 Soros Equality Fellow. She is a 2020 Pioneer Works resident. She lives and works in Brooklyn.

Tania Bruguera

Tania Bruguera is an artist and activist whose performances and installations examine political power structures and their effect on society’s most vulnerable people. Her long-term projects have been intensive interventions on the institutional structure of collective memory, education and politics. Bruguera has received many honours such as the Robert Rauschenberg Award, a Guggenheim Fellowship and a Prince Claus Fund Laureate and her work has been extensively exhibited around the world, including the Tate Turbine Hall Commission and Documenta 11. 

Tania Bruguera was born in 1968 in Havana, Cuba. She holds an MFA. in Performance from The School of the Art Institute of Chicago, as well as degrees from the Instituto Superior de Arte and the Escuela de Artes Plásticas San Alejandro in Havana, Cuba. Her work is in the collection of the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Van Abbemuseum, Netherlands; Tate Modern, London; and the Museo Nacional de Bellas Artes de La Habana, Cuba. She has been awarded Doctor Honoris Causa at the Maryland Institute College of Art and from her alma mater. She lives and works in Queens.

The Center for Urban Pedagogy

The Center for Urban Pedagogy (CUP) is a nonprofit organization that uses the power of design and art to increase meaningful civic engagement particularly among underrepresented communities. CUP projects demystify the urban policy and planning issues that impact our communities, so that more individuals can better participate in shaping them.

We believe that increasing understanding of how these systems work is the first step to better and more diverse community participation.

CUP projects are collaborations of art and design professionals, community-based advocates and policymakers, and our staff. Together we take on complex issues — from the juvenile justice system to zoning law to food access — and break them down into simple, accessible, visual explanations. The tools they create are used by organizers and educators all over New York City and beyond to help their constituents better advocate for their own community needs.

Alex Da Corte

Alex Da Corte was born in 1980 in Camden, New Jersey. He received a BFA from the University of the Arts, Philadelphia, and an MFA from the Yale University School of Art. Da Corte was most recently included in La Biennale di Venezia 2019, the international exhibition May You Live in Interesting Times curated by Ralph Rugoff; as well as the 57^th Carnegie International in Pittsburgh. He has been the subject of solo exhibitions at Kölnischer Kunstverein, Köln, Germany; Karma, New York; Secession, Vienna; Hammer Museum, Los Angeles; MASS MoCA, North Adams, MA; Museum Boijmans van Beuningen, Rotterdam, Netherlands; and Institute of Contemporary Art, Philadelphia. He lives and works in Philadelphia.

Jeremy Deller

Jeremy Deller is an English conceptual, video and installation artist. Much of Deller’s work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. Deller is known for his Battle of Orgreave (2001), a reenactment of the actual Battle of Orgreave which occurred during the UK miners’ strike in 1984, and for 2016’s We’re Here Because We’re Here.

Jeremy Deller was born in 1966 in London, where he currently lives and works. He won the Turner Prize in 2004, and in 2010 was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA).

Shannon Finnegan

Shannon Finnegan is a multidisciplinary artist born in 1989. They have done projects with Banff Centre, Canada; the High Line, New York; Tallinn Art Hall, Estonia; Nook Gallery, Oakland, CA; and the Wassaic Project, New York. They have spoken about their work at the Brooklyn Museum, New York; School for Poetic Computation, New York; The 8^th Floor, New York; and The Andrew Heiskell Braille and Talking Book Library, New York. In 2018, they received a Wynn Newhouse Award and participated in Art Beyond Sight’s Art + Disability Residency. In 2019, they were an artist-in-residence at Eyebeam. Their work has been written about in Art in America, The Creative Independent, C Magazine, Hyperallergic, and The New York Times. They live and work in Brooklyn.

LaToya Ruby Frazier

LaToya Ruby Frazier’s artistic practice spans a range of media that incorporates photography, video and performance and centers on the nexus of social justice, cultural change and commentary on the American experience. Citing Gordon Parks as an influence, Frazier uses the camera as a weapon and turns injustice and displacement into a meditation on life, work and history through the powerful act of artistic creation. 

LaToya Ruby Frazier was born in 1982 in Braddock, Pennsylvania and has been the subject of numerous solo presentations at the Brooklyn Museum; Seattle Art Museum; Institute of Contemporary Art, Boston; Contemporary Art Museum, Houston; Musée des Arts Contemporains, Grand-Hornu, Belgium; CAPC Musée d’Art Contemporain de Bordeaux, France; Carré d’Art — musée d’art contemporain de Nîmes, France; Silver Eye Center for Photography, Pittsburgh; August Wilson Center, Pittsburgh; Frost Art Museum, Miami; Musée d’art Moderne, Luxembourg; and the Newcomb Museum at Tulane University, New Orleans. 

Her work is included in celebrated international collections, including the Museum of Modern Art, New York; Studio Museum, Harlem; Brooklyn Museum; Bronx Museum of Art; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Carnegie Museum of Art, Pittsburgh; Museum of Contemporary Art Chicago; Baltimore Museum of Art; Los Angeles County Museum of Art; J. Paul Getty Museum, Los Angeles; Lucas Museum of Narrative Art, Los Angeles; Seattle Art Museum; Dallas Museum of Art; Art Gallery of Ontario, Toronto; Nasher Museum of Art at Duke University, Durham, NC; Princeton Art Museum; The Library of Congress, Washington, D.C.; and Centre Georges Pompidou, Paris, among many others. She was the recipient of the John D. and Catherine T. MacArthur Foundation Fellowship in 2015 and in 2020, Frazier was named the inaugural recipient of the Gordon Parks Foundation/​Steidl prize for artists whose practices reflect and extend Gordon Parks’s legacy of using photography as a tool to advance social justice. Frazier will publish a book with Steidl, expected spring of 2021.

Nan Goldin

Nan Goldin was born in Washington D.C. in 1953. She lives and works in New York City. One of the most important and influential artists of her generation, Goldin has revolutionized the art of photography through her frank and deeply personal portraiture. Over the last 45 years Goldin has created some of the most indelible images of the 20^th and 21^st centuries. Since the late 1970s her work has explored notions of gender and definitions of normality. By documenting her life and the lives of the friends who surround her, Goldin gives a voice and visibility to her communities. In 2017 Goldin formed the activist group P.A.I.N. (Prescription Addiction Intervention Now) which stages protests aimed at US pharmaceutical drug companies. 

Goldin’s work has been shown recently at the Tate Modern, London (2019); the Château de Versailles, France (2018); Château d’Hardelot, Condette, France (2018); the Irish Museum of Modern Art, Dublin (2017); the Museum of Modern Art, New York (2016); Nederlands Fotomuseum, Rotterdam, Netherlands (2010); Louvre Museum, Paris, France (2010); and a major traveling mid-career survey which began at the Whitney Museum of American Art, New York in 1996 and travelled to Kunstmuseum Wolfsburg, Germany; Stedelijk Museum, Amsterdam, The Netherland; Fotomuseum Winterthur, Winterthur, Switzerland; Kunsthalle Wien, Vienna, Austria; and the National Museum, Prague, Czech Republic.

She has been the recipient of many awards including the Ruth Baumgarte Award, Sprengel Museum, Hannover, Germany (2019); the Centenary Medal, London (2018); the Hasselblad Award, Gothenburg, Sweden (2007); the Commandeur des Arts et des Lettres, France (2006); and the DAAD, Artists in Residence Program, Berlin (1991). 

Ann Hamilton

Ann Hamilton is a visual artist whose practice centers in the metaphorical structures and material processes of textiles and takes form as large-scale site-responsive installations, performance collaborations, print media, and public projects. Inspired by histories and geographies of place, the work’s multiple forms often juxtapose expressions of language and tactile materiality to explore relationships between the individual and the collective, the animate and inanimate, the human and non-human animal, the silent and the spoken. Whether comprised of a building four stories high or confined to the surface of a thimble, the qualities of these spaces, objects, and their atmospheres evoke an awareness of the site and the scale of the body to ask how, in a technologically extended world, the literacies of the hand and embodied knowledge matter, and the possibility for cultivating attention in a hyper distracted world of information.

Adelita Husni-Bey

Adelita Husni-Bey is an artist and pedagogue interested in anarco-collectivism, theater, law and urban studies. She organizes workshops, produces publications, radio broadcasts, archives and exhibition work focused on using non-competitive pedagogical models through the framework of contemporary art. Working with activists, architects, jurists, schoolchildren, spoken word poets, actors, urbanists, physical therapists, athletes, teachers and students across different backgrounds the work focuses on unpacking the complexity of collectivity. To make good what can never be made good: what we owe each other. 

Recent solo exhibitions include: White Paper: On Land, Law and the Imaginary, Centro de Arte dos de Mayo, Mostoles, A Wave in the Well, Sursock Museum, Beirut, 2016, Movement Break, Kadist foundation, 2015, Playing Truant, Gasworks, 2012. She has participated in Being: New Photography 2018, MoMA, 2018, Dreamlands, Whitney Museum, 2016, The Eighth Climate, 11^th Gwangju Biennale, 2015, Really Useful Knowledge, Reina Sofia museum, 2014, Utopia for Sale?, MAXXI museum, 2014 and has held workshops and lectures at ESAD Grenoble, 2016, The New School, 2015, Sandberg Institute, 2015, Museo del 900, 2013, Temple University, 2013, Birkbeck University, 2011 amongst other spaces. She is a 2012 Whitney Independent Study Program fellow, a 2016 Graham Foundation grantee and has represented Italy at the Venice Biennale of Art, 2017 with a video rooted in anti-extractivist struggles.

Ekene Ijeoma

Ekene Ijeoma is an artist, professor at MIT, and the founder and director of the Poetic Justice group at MIT Media Lab. Through both his studio and lab at MIT, Ijeoma researches social inequality across multiple fields including social science to develop artworks in sound, video, multimedia, sculpture and installation. Working from data studies and life experiences, and using both computational design and conceptual art strategies, he reframes social issues through artworks that embody and empower overlooked truths within systems of oppression.

Current works in development by Ijeoma and his lab Poetic Justice include A Counting, a series of phone and internet based artworks, and Black Mobility and Safety in the US, a series of public lectures, conversations, and panels. A Counting is an ongoing series of video-based and sound-based voice portraits of US cities which explore the linguistic and ethnic inequality in the US Census by counting to a hundred with a different language for each number. In Fall 2020, three editions were launched for New York City, Houston and Omaha in partnership with the Museum of the City of New York, Brooklyn Public Library, Contemporary Arts Museum Houston and Bemis Center for Contemporary Art. 

Black Mobility and Safety is a two-semester public series launched in Fall 2020 at MIT Media Lab, that explores the systemic inequalities of living while Black in the US. The series includes lectures and panels on birthing, breathing, sleeping, eating, and walking (Fall 2020 semester); and learning, voting, driving, working, and loving (Spring 2020 semester). Guests for the Fall 2020 semester include Hank Willis Thomas (Artist), Hugh Hayden (Artist), Professor Arline Geronimus (University of Michigan), Professor Cooper Owens (University of Nebraska-Lincoln), Marcus Franklin (Environmental Advocate), Linda Villarosa (New York Times), Tricia Hersey (The Nap Ministry), Professor Ashanté M. Reese (UTA), Professor Elijah Anderson (Yale), Topher Sanders (ProPublica). 

In 2018, Ijeoma presented Pan African AIDS as part of Germ City at the Museum of the City of New York. The commissioned series of sculptures explores the hypervisibility of the AIDS epidemic in Africa and the hidden one in Black America by morphing the image of Africa into America at the rate of HIV infections in Black America. In 2017, Day for Night Festival commissioned Deconstructed Anthems, an ongoing series of sound-reactive installations and music performances that explore the inequality in the American Dream by repeating and removing notes from the ​“The Star-Spangled Banner” at the rate of mass incarceration in America. The work was later presented at the Kennedy Center and the Arts Club of Chicago.

Eken Ijeoma was born in 1985 in Fort Worth, Texas. He graduated with a BS in Information Technology from Rochester Institute of Technology and an MA in Interaction Design from Domus Academy. He has lectured and critiqued at schools including Yale, Harvard Law School, Columbia, New York University, School of Visual Arts, and The New School.  His work has been commissioned and presented by museums, galleries and other cultural institutions including Contemporary Art Museum Houston; The Kennedy Center, Washington D.C.; Museum of the City of New York; Arts Club of Chicago; Fondation EDF, Paris; Pratt Manhattan Gallery, New York; Neuberger Museum of Art, New York; Annenberg Space for Photography, Los Angeles; Museum of Modern Art, New York; Design Museum London; Istanbul Design Biennial; and Storefront for Art and Architecture, New York. He has been featured in What Can Design Do’s 31 Designers Fighting for a Better World, GOOD’s GOOD 100 ​“tackling pressing global issues,” Adweek’s Creative 100 ​“visual artist whose imagination and intellect will inspire you,” and GDUSA’s People to Watch ​“who embody the spirit of the creative community.” Ijeoma lives and works in New York.

The Institute of Sociometry

Heather Link-Bergman is a conceptual artist, printer and publisher whose practice includes various forms of printmaking as well as artist books, zines, collage, painting, photography, performance and interventions. In her conceptual investigations, she often deploys humor and co-opts methods from non-art disciplines including mass communications, market research, journalism, anthropology and social science. No topic is off limits, her conceptual explorations deal with, and blur the lines between, diverse issues including consumer and material culture, displacement, religion, spirituality and death. 

Link-Bergman often collaborates with her partner in art and life, Peter Miles Bergman. She is a Partner of is PRESS, a publishing and design consultancy founded by Peter Miles Bergman and Heather Link-Bergman. is PRESS offers publishing, design, graphic arts, offset and letterpress and screen printing. Proceeds partially fund short-run artists’ books, zines and catalog publishing service associated with The Institute of Sociometry, an international art and communications cooperative based in Denver. 

When she is not in her studio or out in the field, Link-Bergman works full-time as an account director focusing on mission-driven marketing, behavior change and public policy. Other professional accomplishments include serving as the teaching artist for three semesters (2019−2020) for the Museum of Contemporary Art Denver’s teen program, POV (Point Of View).

Heather Link-Bergman was born in 1984 in Summit, New Jersey. She holds a BFA from the School of the Art Institute of Chicago. Her work is held in various collections including The Institute of Contemporary Art Baltimore, Baltimore, MD; The Chicago Public Library; The Joan M. Flasch Artist Books Collection, School of the Art Institute of Chicago; The Ron Burnett Library + Learning Commons, Emily Carr University, Vancouver; The University of Denver Special Collections, Denver; The Tutt Library, Colorado College Special Collections and Archives, Colorado Springs, CO and private collections. She lives and works in Denver.

Peter Miles Bergman is a conceptual artist, printer, publisher and the founder and Special Agent in Charge of the Institute of Sociometry, an international art and communications cooperative based in Denver, Colorado. Bergman formed the group in 1995 after selecting the term ​“sociometry” — which is ​“the quantitative analysis of individuals and their relationship to groups” — from the dictionary. Or, in Bergman’s parlance ​“guerilla sociometry”, which does not conform to the rigors of math or science! Since its founding, the Institute has amassed over 700 special agents, several dozen of which still produce ​“incidence reports of sociometry” released at a quadrennial Sociometry Fair. 

Bergman’s work is derived from the durational repetition of habits, patterns, and places and seeks to observe and unmask the random, humorous, and profound nature of the lived experience. Often satirical in its final form, Bergman’s work deploys personal narrative to pick at the corners of social and municipal systems of control.

Bergman often collaborates with his partner in art and life, Heather Link-Bergman. He is a Partner of is PRESS, a publishing and design consultancy founded by Peter Miles Bergman and Heather Link-Bergman. is PRESS offers publishing, design, graphic arts, offset and letterpress and screen printing. Proceeds partially fund short-run artists’ books, zines and catalog publishing services associated with The Institute of Sociometry. 

Peter Bergman was born in 1972 in East Lansing, Michigan. He holds a BA in Studio Art from University of California San Diego and an MFA in Visual Communication from the School of the Art Institute of Chicago. He has exhibited nationally in New York; Baltimore; Chicago; Denver; Las Vegas; San Diego; San Francisco; and Los Angeles and Internationally in Milan Italy and  San Paulo, Brazil. His is PRESS publications are held in various collections including The Institute of Contemporary Art Baltimore; The Chicago Public Library; The Joan M. Flasch Artist Books Collection at the School of the Art Institute of Chicago; DePaul University Special Collections and Archives, Chicago; The Ron Burnett Library + Learning Commons at Emily Carr University, Vancouver; The University of Denver Special Collections; The Tutt Library, Colorado College Special Collections and Archives, Colorado Springs, CO; University of Connecticut Special Collections, Hartford, CN, and private collections. Bergman is an Associate Professor of Art at Metropolitan State University of Denver and the Program Coordinator for Communication Design. He has taught and volunteered his time and talent widely in service to his community, sharing his wit and wisdom with teens and emerging artists. He served as the President of the Board of the Letterpress Depot and is an active member of Denver’s printmaking community. He lives and works in Denver.

Aryel René Jackson

Aryel René Jackson’s multidisciplinary practice considers land and landscape as sites of internal representation. Themes of loss and transformation are embedded in their interest and application of sculpture, video, and performance by way of performative and sculptural acts, utilizing repurposed imagery or objects. 

Aryel René Jackson was born in 1991 in Monroe, Louisiana. They completed their MFA at The University of Texas at Austin in 2019. Jackson is an alum of the Skowhegan School of Painting and Sculpture and completed an exchange program at the Royal College of Art in 2018. Their work has been shown at various galleries and institutions such as the SculptureCenter, New York; CUE Art Foundation, New York; Contemporary Art Center, New Orleans; Depaul Art Museum, Chicago; Studio Museum in Harlem; and the Rhode Island School of Design Museum. They currently live in Austin, Texas.

Paul Ramirez Jonas

Since the 1990s, Paul Ramirez Jonas has sought to challenge the relationship between artist, viewer, and artwork. Many of his projects invite viewer participation; in his most recent large public work, Public Trust asked participants to examine the value of their word, each individual declared a promise recorded in a drawing consistent with their beliefs. Whimsical and sincere, he thinks of his works as monuments rather than as sculptures — as situations that address a public, often without an author, and communicate collective ideals, histories, and dreams rather than the individual expression of the artist.

Paul Ramírez Jonas was born in 1965 in Pomona, California, and raised in Honduras. He earned a BA in studio art from Brown University in and an MFA in painting from Rhode Island School of Design in 1989. He has been the subject of solo exhibitions at the Pinacoteca do Estado, Sao Paulo, Brazil; The Aldrich Contemporary Art Museum, Ridgefield, CT; and The Jack S. Blanton Museum of Art, Austin, TX. He has been included in group exhibitions at MoMA PS1, New York; the Brooklyn Museum; Whitechapel Gallery, London; Irish Museum of Modern Art; The New Museum, New York; and Kunsthaus Zurich, Switzerland. He participated in the 1^st Johannesburg Biennale; the 1^st Seoul Biennial; the 6^th Shanghai Biennial; the 28^th Sao Paulo Biennial; the 53^rd Venice Biennial; and the 7^th Bienal do Mercosul, Porto Alegre, Brazil. In 2010 his Key to the City project was presented by Creative Time in cooperation with the City of New York. In 2016 his Public Trust project was presented by Now & There in Boston. He currently lives and works in in New York, where he is an Associate Professor at Hunter College, City University of New York CUNY.

Titus Kaphar

Kenya (Robinson)

Kenya (Robinson) in her own words:

“THE-THEY said I could write anything I liked.

Shiiiit, I’m just happy to be alive.  A few days ago, my father sent me an email, talking ​‘bout he gon’ put a life insurance policy on me. At first, I felt some type of way — that he would even consider Me checking out before him. But on second thought, it’s not like THE-THEY of our light twisted fantasies would be out of character in offing Me.  Or the Me in Louisville. Or the Me in Baltimore. And especially that one Me in Waller County, Texas.  Could be the M.D. won’t really listen, when I finally get some insurance, a preconceived precondition of ​“white” mindedness.  Like they did Serena.  Or maybe I’ll wreck the car I don’t have yet, while signing along to Megan Thee Stallion, splish-splashy genitalia, my ultimate undoing. But trust, I’d swirl elder, in a flowing caftan, à la Mrs. Roper, rather than combust over a martyr-hero’s pyre like Black Panther or Breonna.  I don’t have no kids, so a sculpture for my mother, in the permanent collection of the African American Museum of History and Culture, is my legacy. I guess. Or maybe when I mastered, Blue Ivy, without an undergraduate degree, that was ​‘sposed to make me feel like a Somebody.  Or when alllll the ​“white” ladies called, after George Floyd was murdered, and I did all that work making them feel better ​‘bout theyself. I haven’t heard from them since. 

At least there’s Wikipedia. 

Love, 

Kenya (Robinson), LLC“

Kenya (Robinson) was born in 1977 in Landstuhl, Germany. She lives and works in Gainesville, FL.

Robert Longo

Robert Longo is a New York-based artist, filmmaker, and musician. After attending Buffalo State University, New York he moved to New York City in 1977. That same year, he showed in Pictures, curated by Douglas Crimp, the first exhibition to contextualize a young group of artists who were turning away from Minimalism and Conceptualism and instead towards image-making, inspired by newspapers, advertisements, film, and television. Longo became known as a leading protagonist of the ​“Pictures Generation,” working across drawing, photography, painting, sculpture, performance, and film to make provocative critiques of the anesthetizing and seductive effects of capitalism, mediatized wars, and the cult of history in the United States.

Robert Longo was born in 1953 in Brooklyn. His work is represented in numerous major museums and private collections all over the world, including the collections of the Museum of Modern Art,  Solomon R. Guggenheim Museum, and Whitney Museum of American Art, in New York; The Broad Collection, Los Angeles County Museum of Art, and the Museum of Contemporary Art in Los Angeles; Art Institute of Chicago; Centre Georges Pompidou in Paris; and the Albertina in Vienna. He lives and works in New York City and is represented by Metro Pictures, NYC; Galerie Thaddaeus Ropac, London, Paris, Salzburg; and Capitain Petzel, Berlin.

Alan Michelson

Alan Michelson is an internationally recognized New York-based artist, curator, writer, lecturer and Mohawk member of the Six Nations of the Grand River. For over twenty-five years, he has been a leading practitioner of a socially engaged, critically aware, site-specific art grounded in local context and informed by the retrieval of repressed histories. Sourcing from both indigenous and western culture, he works in a varied range of media and materials, among them painting, sculpture, photography, sound, video, glass, and stone.

His practice includes public art, and Mantle, his large-scale monument honoring Virginia’s Indian nations, was recently dedicated on Capitol Square in Richmond. Michelson is co-founder and co-curator, with the Vera List Center for Art and Politics at the New School, of the Indigenous New York series.

Alan Michelson was born in 1953 in Buffalo, New York. He is the recipient of several awards, including an NEA Visual Artists Fellowship, Native Arts and Cultures Foundation Artist Fellowship, and the GSA Design Award, Citation in Art. His work is in the permanent collections of the Whitney Museum of American Art, New York; National Gallery of Canada; and the Smithsonian National Museum of the American Indian, Washington D.C. He currently lives and works in New York.

Marilyn Minter

For over three decades Marilyn Minter has produced lush paintings, photographs, and videos that vividly manifest our culture’s complex and contradictory emotions around the feminine body and beauty. Her unique works — from the oversized paintings of makeup-laden lips and eyes to soiled designer shoes — bring into sharp, critical focus the power of desire. As an artist, Minter has always made seductive visual statements that demand our attention while never shirking her equally crucial roles as provocateur, critic, and humorist. 

Marilyn Minter was born in 1948 in Shreveport, Louisiana and went on to receive her BA from the University of Florida at Gainesville and an MFA from Syracuse University, New York. She has been the subject of numerous solo exhibitions at the Museum of Contemporary Art Denver; San Francisco Museum of Modern Art; Center for Contemporary Art, Cincinnati, OH; La Conservera, Centro de Arte Contemporáneo, Ceutí/​Murcia, Spain; Museum of Contemporary Art, Cleveland; and the Deichtorhallen, Hamburg, Germany. In 2006, Minter was included in the Whitney Biennial, and in collaboration with Creative Time she installed billboards all over Chelsea in New York City. She currently lives and works in New York City.

Vik Muniz

Vik Muniz is an influential contemporary Brazilian artist best known for his complex photographic works. Sourcing a wide variety of eclectic and found materials — chocolate, jelly, toys, and trash — Muniz recreates iconic art historical works and scenes from popular culture. By displaying the final piece as a photograph, he explores memory, perception, and the nature of images as represented in arts and communication. 

Vicente José de Oliveira Muniz was born in 1961 in São Paulo, Brazil. He starred in the documentary film Waste Land (2010) tracking the course of his project Pictures of Garbage (2008). The project included the recreation of Jacques-Louis David’s The Death of Marat out of waste. This series of large-scale images was created with the help of catadores — the people who scour Rio’s sizable trash dump for recyclable materials. Muniz was named a UNESCO Goodwill Ambassador for his social activism, and the artist has had his work exhibited at the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Tate Modern, London; and the Centre National de la Photographie, Paris. He currently lives and works between Brooklyn and Rio de Janeiro.

Jayson Musson

Jayson Scott Musson is a gorilla in a tie. If he’s not wasting hours upon hours re-watching the cantina shoot-out between Han Solo and Greedo as if it were the Zapruder film, then Jayson Scott Musson is sleeping. If he’s not sleeping then he’s eating. Once he’s done eating, he then takes a small hike into the forest where he digs a hole into the earth so he can have sex with the planet. ​“I’m trying to make a golem like a Hebrew wizard.” Mr. Musson declares as his reason for this violation of Mother Earth’s sacrosanctity. This is the closest Mr. Musson will ever come in being either a scientist or a father.

He sometimes writes, sometimes plays around with his crayons in the production of visually arresting stuffs, and sometimes wonders ​“How much money can you really make breakdancing on a subway, especially if you have to split your earnings amongst 3 people. It doesn’t seem like a feasible way to make a living… and all that sweat!”

Jayson Scott Musson was born 1977 in New York, where he currently lives and works.

Ahmet Öğüt

An internationally-renowned sociocultural initiator and conceptual artist, Öğüt consistently seeks out collaborators from outside of the art world. Working across different media, he finds unique ways to grapple with complex social issues ranging from migration to civil unrest with a sense of humor. 

Ahmet Öğüt was born in 1981 in Silvan, Turkey. Following Diyarbakir Fine Art high school, he completed his BA from the Fine Arts Faculty at Hacettepe University, Ankara and MA from Art and Design Faculty at Yıldız Teknik University, Istanbul. He has been the subject of solo exhibitions at YARAT Contemporary Art Space, Azerbaijan; Kunstverein Dresden, Germany; Kunsthal Charlottenborg, Copenhagen; Chisenhale Gallery, London; Berkeley Art Museum; and Kunsthalle Basel, Swizerland. He has also participated in numerous group exhibitions at the Stedelijk Museum, Amsterdam; Seoul Museum of Art, South Korea; Echigo Tsumari Art Triennale; the 13^th Biennale de Lyon, France; the 5^th Biennial of Visual Art Performance, New York; the 7^th Liverpool Biennial; the 12^th Istanbul Biennial; the New Museum Triennial, New York; and the 5^th Berlin Biennial for Contemporary Art. Öğüt was awarded the Visible Award for the Silent University (2013); the special prize of the Future Generation Art Prize, Pinchuk Art Centre, Ukraine (2012); the De Volkskrant Beeldende Kunst Prijs, Netherlands (2011); and the Kunstpreis Europas Zukunft, Museum of Contemporary Art, Germany (2010). He co-represented Turkey at the 53^rd Venice Biennale.He lives and works in Amsterdam and Istanbul.

Yoko Ono

Known for her experimental art, music, filmmaking, and feminism, as well as for her marriage to John Lennon, Yoko Ono became a major figure in the 1960s New York underground art scene, and she continues to produce work and make headlines today. Of several iconic conceptual and performance art pieces that Ono produced, the most famous is Cut Piece (1964), first performed in Tokyo, in which she kneeled on the floor of a stage while members of the audience gradually cut off her clothes. In the ​’60s and ​’70s Ono was associated with the Fluxus movement — a loose group of avant-garde Dada-inspired artists — and produced printed matter, such as a book titled Grapefruit (1964) containing instructions for musical and artistic pieces. Other works include Smoke Painting (1961), a canvas that viewers were invited to burn. John Cage was a major influence and collaborator for Ono, as was the godfather of Fluxus, George Maciunas.

Yoko Ono was born in 1933 in Tokyo. She lives and works in New York City.

Trevor Paglen

Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures.

Trevor Paglin was born in 1974 in Camp Springs, Maryland. He received his BA from U.C. Berkeley, an MFA from the Art Institute of Chicago, and a Ph.D. in Geography from U.C. Berkeley. He has had one-person exhibitions at Nam June Paik Art Center, Seoul; Museo Tamayo, Mexico City; the Nevada Museum of Art, Reno; Vienna Secession; Eli & Edythe Broad Art Museum at Michigan State University; Van Abbé Museum, Netherlands; Frankfurter Kunstverein, Germany; and Protocinema Istanbul. He has launched an artwork into distant orbit around Earth in collaboration with Creative Time and MIT, contributed research and cinematography to the Academy Award-winning film Citizenfour, and created a radioactive public sculpture for the exclusion zone in Fukushima, Japan. He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, photography, and visuality. Paglen’s work has been profiled in the New York Times, Vice Magazine, the New Yorker, and Art Forum. In 2014, he received the Electronic Frontier Foundation’s Pioneer Award for his work as a ​“groundbreaking investigative artist.”

Pope.L

Pope.L is a visual artist and educator whose multidisciplinary practice uses binaries, contraries and preconceived notions embedded within contemporary culture to create art works in various formats, for example, writing, painting, performance, installation, video and sculpture. Building upon his long history of enacting arduous, provocative, absurdist performances and interventions in public spaces, Pope.L applies some of the same social, formal and performative strategies to his interests in language, system, gender, race and community. The goals for his work are several: joy, money and uncertainty— not necessarily in that order. 

William Pope.L was born in b. 1955, Newark, New Jersey. He began his career in the 1970s, creating works that find their foothold in personal travail, reading philosophy, and performance and theatre training with Geoff Hendricks and Mabous Mines. He studied at Pratt Institute and later received his BA from Montclair State College in 1978. He also attended the Independent Study Program at the Whitney Museum of American Art before earning his MFA from Rutgers University in 1981. Pope.L is the recipient of numerous awards and fellowships, including the Bucksbaum Award, Joyce Foundation Award, the Tiffany Foundation Award, the United States Artists Rockefeller Fellowship, the Bellagio Center Residency, Solomon R. Guggenheim Fellowship, Andy Warhol Foundation grant, Creative Capital Foundation grant, Franklin Furnace/​Jerome Foundation grant, National Endowment for the Arts fellowship, Artists Space grant, and more. He lives and works in Chicago.

Pedro Reyes

Pedro Reyes studied architecture but considers himself a sculptor, although his works integrate elements of theater, psychology and activism. His work takes on a great variety of forms, from penetrable sculptures (Capulas, 2002-08) to puppet productions (Baby Marx, 2008), (The Permanent Revolution, 2014), (Manufacturing Mischief, 2018). In 2008, Reyes initiated the ongoing Palas por Pistolas where 1,527 guns were collected in Mexico through a voluntary donation campaign to produce the same number of shovels to plant 1,527 trees. This led to Disarm (2012), where 6,700 destroyed weapons were transformed into a series of musical instruments. In 2011, Reyes initiated Sanatorium, a transient clinic that provides short unexpected treatments mixing art and psychology. Originally commissioned by the Solomon R. Guggenheim Museum in New York City, Sanatorium has been in operation at Documenta 13, Kassel, Germany; Whitechapel Gallery, London; and OCA, Sao Paulo. 

In 2013, he presented the first edition of pUN: The People’s United Nations at Queens Museum in New York City. pUN is an experimental conference in which regular citizens act as delegates for each of the countries in the UN and seek to apply techniques and resources from social psychology, theater, art, and conflict resolution to geopolitics. pUN’s second edition took place at the Hammer Museum in Los Angeles in 2015.  The third General Assembly of pUN took place in December, 2015 at the Museum of the 21^st century in Kanazawa, Japan. That same year, he received the U.S. State Department Medal for the Arts and the Ford Foundation Fellowship. In late 2016, he presented Doomocracy, an immersive theatre installation commissioned by Creative Time. 

Pedro Reyes was born in 1972 in Mexico City. He held a visiting scholar position at Massachusetts Institute of Technology for the fall of 2016, and conducted his residency at MIT’s CAST as the inaugural Dasha Zhukova Distinguished Visiting Artist. In addition to his artistic practice, Pedro Reyes has curated numerous shows and often contributes to art and architectural publications. He lives and works in Mexico City.

Yumi Janairo Roth

Yumi Janairo Roth has created a diverse body of work that explores ideas of immigration, hybridity, and displacement through discrete objects and site-responsive installations, solo projects as well as collaborations. In her projects, objects function as both natives and interlopers to their environments, simultaneously recognizable and unfamiliar to their users. 

Roth was born in Eugene, Oregon and grew up in Chicago, Metro Manila, the Philippines and suburban Washington DC. She received a BA in anthropology from Tufts University, a BFA from the School of the Museum of Fine Arts-Boston and an MFA from the State University of New York-New Paltz. Roth has exhibited and participated in artist-in-residencies nationally and internationally, including Grand Central Art Center, Santa Ana, CA; Lower Manhattan Cultural Council, Smack Mellon, and Cuchifritos in New York City; Diverse Works and  Lawndale Art Center in Houston; Institute of Contemporary Art, Portland, ME; Walker Art Center, Minneapolis, MN; Consolidated Works, Seattle; Vargas Museum, Metro Manila, Philippines, Ayala Museum, Metro Manila, Philippines; Frankfurter Kunstverein, Germany; Galerie Klatovy Klenová, Szech Republic; and Institute of Art and Design-Pilsen, Czech Republic. She currently lives and works in Boulder, Colorado where she is a professor of sculpture and post studio practice at the University of Colorado.

Dread Scott

Dread Scott makes revolutionary art to propel history forward. His work is exhibited across the U.S. and internationally. In 1989, his art became the center of national controversy over its transgressive use of the American flag, while he was a student at the School of the Art Institute of Chicago. Dread became part of a landmark Supreme Court case when he and others defied the new law by burning flags on the steps of the U.S. Capitol. He has presented at TED talk on this. Dread’s studio is now based in Brooklyn.

Dread Scott was born 1965 in Chicago. His work has been included in exhibitions at MoMA PS1, New York; Walker Art Center, Minneapolis, MN; Jack Shainman Gallery, New York; and Gallery MOMO, Cape Town, South Africa. His work is in the collection of the Whitney Museum of American Art, New York and the Brooklyn Museum. His performances have been presented at BAM and on the streets of Harlem. He is a 2019 Open Society Foundations Soros Equality Fellow and has received grants and fellowships from United States Artists and Creative Capital Foundation. In 2019 he presented Slave Rebellion Reenactment, a community-engaged project that reenacted the largest rebellion of enslaved people in US history. The project was featured in Vanity Fair, The New York Times, Christiane Amanpour on CNN and highlighted by art​net​.com as one of the most important artworks of the decade. He lives and works in Brooklyn.

Laura Shill

Laura Shill’s work is a collision of sculpture, installation, performance, and photography. Shill addresses ideas of viewer and subject, disclosure and concealment, absence and intimacy. Her works explore the transformative potential of people and objects through early and experimental forms of image making that pair the sinister and beautiful.  Her sculptural and installation work borrows theatrical conventions and employs repetition of form to create environments that immerse and oscillate between humor and heartbreak.

Laura Shill was born in 1980 in Birmingham, Alabama. Shill earned an MFA in Interdisciplinary Media Arts Practices from the University of Colorado, Boulder in 2012 and has exhibited her work nationally and internationally at the 2017 Venice Biennale at the European Cultural Center; The Gallery of Contemporary Art, Colorado Springs; David B. Smith Gallery, Denver; Catherine Edelman Gallery, Chicago; and Durden and Ray, Los Angeles. Her 2016 solo exhibition, Phantom Touch, was held at the Museum of Contemporary Art, Denver. She lives and works in Los Angeles and Denver.

Aram Han Sifuentes

Aram Han Sifuentes is a fiber, social practice, and performance artist who works to claim spaces for immigrant and disenfranchised communities. Her work often revolves around skill sharing, specifically sewing techniques, to create multiethnic and intergenerational sewing circles, which become a place for empowerment, subversion and protest. 

Aram Han Sifuentes was born in 1986 in Seoul, South Korea. She earned her BA in Art and Latin American Studies from the University of California, Berkeley, and her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago. Her work has been exhibited at the Pulitzer Arts Foundation, St. Louis, MO; Jane Addams Hull-House Museum, Chicago; Hyde Park Art Center, Chicago; Chicago Cultural Center, Chicago; Asian Arts Initiative, Philadelphia; Chung Young Yang Embroidery Museum, Seoul; and the Design Museum, London. She is a 2016 Smithsonian Artist Research Fellow, 2016 3Arts Awardee, and 2017 Sustainable Arts Foundation Awardee. She is currently an Adjunct Associate Professor at the School of the Art Institute of Chicago.

Rirkrit Tiravanija

Born in 1971 in Buenos Aires, Argentina, Thai artist Rirkrit Tiravanija is known for a practice that overturns traditional exhibition formats in favor of social interactions through the sharing of everyday activities such as cooking, eating and reading. Creating environments that reject the primacy of the art object, and instead focus on use value and the bringing of people together through simple acts and environments of communal care, Tiravanija’s work challenges expectations around labour and virtuosity. Tiravanija is on the faculty of the School of the Arts at Columbia University, and is a founding member and curator of Utopia Station, a collective project of artists, art historians, and curators. He also helped establish an educational-ecological project known as The Land Foundation, located near Chiang Mai, Thailand. He lives and works in New York, Berlin, and Chiang Ma, Thailand.

Nari Ward

Since the early 1990s, Nari Ward has produced works by accumulating staggering amounts of humble materials and repurposing them in consistently surprising ways. His approach evokes a variety of folk traditions and creative acts of recycling from Jamaica, where he was born, as well as the material textures of Harlem, where he has lived and worked for the past twenty-five years. He uses language, architecture, and a variety of sculptural forms to reflect on racism and power, migration and national identity, and the layers of historical memory that comprise our sense of community and belonging. 

Nari Ward was born in 1963 in St. Andrew, Jamaica. He received his BA from City University of New York, Hunter College in 1989, and an MFA from City University of New York, Brooklyn College in 1992. His work has been exhibition at the Contemporary Arts Museum Houston, Texas; New Museum, New York; Institute of Contemporary Art, Boston; Socrates Sculpture Park, New York; Massachusetts Museum of Contemporary Art, North Adams, MA; Isabella Stewart Gardner Museum, Boston; and Walker Art Center, Minneapolis, MN. Ward has received numerous honors and distinctions including the Fellowship Award, The United States Artists, Chicago (2020); Vilcek Prize in Fine Arts, Vilcek Foundation, New York (2017); the Joyce Award, The Joyce Foundation, Chicago (2015), the Rome Prize, American Academy of Rome (2012), and awards from the American Academy of Arts and Letters (1998), the Pollock-Krasner Foundation (1996); and the National Endowment for the Arts (1994). Ward has also received commissions from the United Nations and the World Health Organization. He lives and works in New York City.

Alexandra Bell

Alexandra Bell, A Teenager with Promise (Annotated), 2017. Screenprint and archival pigment print on paper. Courtesy the artist.

Tania Bruguera

Tania Bruguera, Dignity Has No Nationality, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Watch Now

NAN GOLDIN IN CONVERSATION WITH TANIA BRUGUERA ABOUT ART AND ACTIVISM

The Center for Urban Pedagogy

Immigrants & NY, 2018. Color pamphlet, 8 x 11 inches; unfolded, 22 x 32 inches. Produced by the Center for Urban Pedagogy (Oscar Nuñez, Clair Beltran, and Ingrid Haftel), the New York Immigration Coalition (Mayra Aldás-Deckert, Kemah E. George, and Samantha Van Doran), and Luiza Dale. Courtesy the Center for Urban Pedagogy

Alex Da Corte

Alex Da Corte, Friends (For Ree), 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Jeremy Deller

Jeremy Deller, Don’t Worry Be Angry, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Shannon Finnegan

Shannon Finnegan, Do you want us here or not? Five Benches, two chairs, one ottoman, and two chaise lounges. MDF, acrylic paint, and laminate. Courtesy the artist. 

LaToya Ruby Frazier

LaToya Ruby Frazier, FLINT 1,462 days and counting man-made water crisis, 2018. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Nan Goldin

Watch Now

NAN GOLDIN IN CONVERSATION WITH TANIA BRUGUERA ABOUT ART AND ACTIVISM

Ann Hamilton

Ann Hamilton, Fly Free, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Adelita Husni-Bey

Adelita Husni-Bey, The institution will be run by a morally superior Al, 2018. C‑print. 70 x 60 inches. Courtesy the artist and Galleria La Veronica, Modica

Ekene Ijeoma

Ekene Ijeoma, TKTKTK, 2018. Digital photo collage, dimensions variable. Courtesy Studio Ijeoma/​Michael Yarinsky Design and the New York Times. Original photograph by Annie Flanagan for the New York Times.

Institute of Sociometry

Institute of Sociometry, ​“The Art of Menstruation by Thu Tran of Colorado Springs being placed in a Little Free Library at 495 S. Clarkson Street in Denver, Colorado.” LLiLL, 2018 — 2020. Neighborhood intervention. Courtesy the Institute of Sociometry.

LLiLL (Leftist Leaflets in Little Libraries) – Activation

The Little Library was initially installed outside of Peter Bergman and Heather Link-Bergman’s (The Institute of Sociometry) home during the evolution of this work. It will be filled with zines related to the project that visitors can take for free on a regular basis during the run of the show. Visitors are also allowed to deposit zines / books in the library.

No reservations needed.

Aryel René Jackson

Aryel René Jackson, A proposed replacement for the equestrian statue of General Beauregard in New Orleans, which was removed in May 2017, 2018. Animated digital photo collage, dimensions variable. Courtesy the artist. Original photograph by Edmund D. Fountain for the New York Times.

Paul Ramirez Jonas

Paul Ramirez Jonas, Public Trust, 2016. Table (birch plywood, felt, plastic letters, elastic, Bible, Bhagavad Gita, Hebrew – English Old Testament, Quran, Constitution of the United States, Constitution of the United States in Spanish, Zend Avesta, plastic bottle with Ganges River water, Jupiter Stone, disposable medical lancets, piggy bank, call bell, ink pad, pen and ball chain, flip clock, embossing seal, paper, and graphite) and marquee (plastic letters, plastic rail, letter-changing pole, cabinet, and hardware), dimensions variable. Courtesy the artist, Galleria Nara Roesler, and Now + There.

Public Trust – Activation

Three days each week (Friday, Saturday, and Sunday) visitors can activate Public Trust by approaching the table in this gallery and making a promise to an official ​“promise taker,” who witnesses, records, seals, and displays each promise made. Participants receive a paper copy of their promise, which functions as a certificate of participation, a record of their promise, and an artwork of which they, the artist, and the promise takers are all co-creators. A second, identical copy of each promise is hung here in the gallery. Promises are also displayed on the large marquee above the table, along with promises excerpted from the news and social media made by elected officials, celebrities, and newscasters.

The work interrogates and celebrates how language functions as the bedrock of civil society. Further, it emphasizes that it is our trust in one another that imbues language with this power. This trust legitimizes our government, legal system, and other public institutions and processes as much as it allows us to count on our friends to meet us when and where they say they will.

Actors Abner Genece and Steph Holmbo will activate Public Trust three days each week. Come share your promises with them on Friday, Saturday, and Sunday afternoons! No special reservations are necessary to participate in this activation. 

Abner Genece* Currently appearing in first episode of Arvada Center’s online series, Amplify; also in Arvada Center’s radio play, Trifles; also in Colorado Springs Fine Arts Center’s radio play, Just Keep Breathing; multi-seasons with Jean Cocteau Repertory, NYC (Hamlet, Othello, Waiting For Godot, Napoli Milionaria, Tartuffe, The Cherry Orchard); multi-seasons with Will Geer Theatricum, LA (A Midsummer Night’s Dream, Twelfth Night, The Winter’s Tale); multi-seasons with Robey Theatre Company, LA (For The Love of Freedom Trilogy); multi-seasons with Arvada Center for the Arts and Humanities, Denver (Sense and Sensibility, The Electric Baby, All My Sons, The Diary of Anne Frank); *Member, Actors’ Equity Association. https://​www​.abn​er​genece​.net/

Steph Holmbo is an actress, dancer, singer, poet, creator. Steph received her BFA from New York University’s Atlantic Theatre Company and worked Off-Broadway with Mitra Dance Collective for 3 years. Since moving to Denver she has performed at several theaters including the Arvada Center for the Arts and Humanities, Miners Alley Playhouse, Town Hall Arts Center, and originated roles in two world première musicals with Mitch Samu. Steph has also presented 3 of her own plays, the first at the Minnesota Fringe Festival and most recently performed her first one-woman show, and again. www​.steph​holm​bo​.com

Titus Kaphar

Titus Kaphar, Monumental Inversions: George Washington, 2016. Wood, hand-blown  glass, and steel, 99 x 88 x 32 inches. Courtesy the artist and Gagosian Gallery, New York. Photograph courtesy the Princeton University Art Museum.

Kenya (Robinson)

Kenya (Robinson), An Argument That All Confederate Monuments Are For The Birds, 2018. Digital photo collage, dimensions variable. Courtesy the artist and the New York Times. Original photographs Edu Bayer for the New York Times and Farinoza and Chamnan Phanthong, via Adobe Stock.

Robert Longo

Robert Longo, Untitled (Dividing Time), 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Alan Michelson

Alan Michelson, Blanket Refusal, 2020. Laser print on double-sided fleece blanket, 80 x 60 inches. Courtesy the artist.

Marilyn Minter

Marilyn Minter, Resist Flag, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Vik Muniz

Vik Muniz, Diaspora Cloud, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Jayson Musson

Jayson Musson, A Horror, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Ahmet Öğüt

Ahmet Öğüt, If You’d Like to See This Flag in Colors, Burn It (In memory of Marinus Boezem), 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Yoko Ono

Yoko Ono, Imagine Peace, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Trevor Paglen

Trevor Paglen, Behold these Glorious Times! 2017. Single channel color video projection, stereo. TRT: 10 minutes. Original Score: Holly Herndon. Courtesy the artist and Metro Pictures, New York.

Pope.L

Pope.L, Flint Water, 2017 — present. Vinyl wallpaper, wall-mounted display shelves, tables, chalkboards, plastic water bottles filled with Flint Water, cardboard cases of water bottles filled with Flint Water. Courtesy the artist and TKTKTK. 

Pedro Reyes

Pedro Reyes, Hands On With A Vision, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Yumi Janairo Roth

Yumi Janairo Roth, The Commons: Management Rights, 2020. Screen-printed aluminum sign installed in Colorado. Courtesy the artist.

Dread Scott

Dread Scott, The Legacy of Slavery Is in the Way of Progress and Will Be Until America, Which Benefits From That Legacy, Has Been Replaced With a Completely Different Society, proposal sketch, 2018. Digital photo collage, dimensions variable. Courtesy the artist and the New York Times. Original photograph by Annie Flanagan for the New York Times.

Laura Shill

Laura Shill, Including Other in the Self, 2020. Written instructions and list of thirty-six questions. Courtesy the artist. 

Watch Laura Shill explain Including Others in the Self

Including Other in the Self – Activation

Concerned about the erosion of social ties by technology and political polarization, Laura Shill conceived of an experiential work that facilitates conversation and fosters empathy. Including Other in the Self brings together two people at a time to ask and, in turn, answer a set of thirty-six questions that a group of psychologists wrote and organized in the1990s with the goal of creating a sense of closeness between the two participants. The New York Times popularized the questions in a 2015 article titled, ​“The 36 Questions That Lead to Love.” Here, Shill employs the questions to encourage dialogue, openness, vulnerability, and, subsequently, understanding with the hope that participants will seek opportunities to connect with others outside of the museum, thus improving our collective civic health.

To participate

The work is available to two people at a time for participation on a first-come, first-served basis. Please check in with the gallery attendant stationed at the entrance to the gallery to find out if and when the work is available.

On the second Friday of each month (that is October 9, November 13, December 11, January 8, and February 12): You can sign up in advance to participate in the work with someone you don’t know at 1PM, 3PM, or 5PM. The thirty-six questions were originally used to facilitate closeness between two strangers. If you’re interested in experiencing the questions as they were initially intended to be used, please visit our website to sign up for one of the appointments on the dates listed above. (Sign-up begins two weeks in advance.)

FAQs

How long does this take? This work takes about an hour to experience.

How does it work? The gallery attendant stationed at the entrance to the gallery will provide you with instructions for participation and the questions.

Can I do it alone? Yes and no. The work requires two people for activation. You should feel free to participate with whomever you’re here with today! Or, return with an acquaintance, friend, family member, or date whom you’d like to spend time getting to know better. If you’d like to participate in the work with someone you don’t know, to use the questions as they were originally intended to be used, you can sign up on our website to do so. On the second Friday of the month, at 1PM, 3PM, or 5PM, you can talk with a stranger.

What precautions are you taking to keep participants safe from COVID-19? We are limiting entrance to the gallery to two people every two hours, and participants are required to wear masks. We disinfect the seats in the gallery following each activation. We wear gloves when putting together the packets of instructions and questions, and the packets are single-use. Participants can recycle their packet once they’ve completed the work or take it home.

Aram Han Sifuentes

Aram Han Sifuentes, Voting Kit for the Disenfranchised, 2020. Multimedia installation and website. Courtesy the artist.

Official Unofficial Voting Station: Voting for All Who Legally Can’t – Activation

Aram Han Sifuentes’ Official Unofficial Voting Station: Voting for All Who Legally Can’t highlights the importance of voting — the primary privilege associated with United States citizenship. The installation, which serves as an unofficial polling site, provides all who encounter it the opportunity to vote on a range of current political issues, such as whether to allow convicted felons to vote or pay reparations to descendants of slaves.

Visitors are not required to register, show identification, or prove United States citizenship in order to vote.

The ease and openness with which the work facilitates participation contrasts the often burdensome bureaucratic barriers to voting that many Americans experience. Voter  suppression continues to impede many voters, keeping citizens from exercising one of their most basic and precious rights. In light of COVID-19 and the increased urgency of allowing Americans to vote by mail, the work has been made accessible online; via http://officialunofficial.vote/, and the QR code below, anyone can vote, from anywhere.

Rirkrit Tiravanija

Rirkrit Tiravanija, Untitled 2017 (fear eats the soul) (white flag), 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.

Nari Ward

Nari Ward, Breathing Flag, 2017. Nylon flag, dimensions variable. Presented as part of Creative Time’s Pledges of Allegiance, 2017 — 2018. Courtesy the artist and Creative Time, New York. Photo by Guillaume Ziccarelli.