Alanna Fields is a mixed-media artist and archivist whose work both deconstructs and reconstructs Black queer memory and history through a multidisciplinary engagement with photographic archives.  Fields’ work has been exhibited nationally and internationally at Paris Photo, The Armory Show, Art Basel Miami, and Expo Chicago. Her work has been featured in exhibitions  at a variety of institutions including The Brooklyn Museum, The Aldrich Contemporary Museum, The High Museum of Art, The Sugar Hill Children’s Museum of Art and Storytelling, and The Museum of Contemporary African Diasporic Art. Fields received her MFA in Photography from the Pratt Institute and has given lectures on her work at Penumbra Foundation, Aperture, Light Work, NYU Tisch School of the Arts, Parsons School of Design at The New School, Syracuse University, and Stanford University. Fields is a Gordon Parks Foundation Scholar and Pollock Krasner Foundation grant recipient who has participated in residencies at Silver Arts Projects, Light Work, Baxter St. CCNY, Fountainhead Arts, and TILT Institute for the Contemporary Image, among others.  

keyon gaskin (Portland, OR) prefers not to contextualize their art with their credentials.

Eric Gyamfi (born 1990, Bekwai, Ghana; lives in Accra, Ghana) is a photographer and artist. Eric holds a B.A. from the University of Ghana (2014) and an MFA from Kwame Nkrumah University of Science and Technology (2024). Gyamfi was a fellow at the Photographers’ Master Class Khartoum, Sudan (2016), Nairobi, Kenya (2017), and Johannesburg, South Africa (2018). His work has been featured in A Diagnosis of Time: Unlearn What You Have Learned, Red Clay Studio, Tamale (2021); Ecologies and Politics of the Living, Vienna Biennale (2021); The 11th and 12th Bamako Encounters, National Museum of Mali (2017); the Modibo Kéita Mémorial (2019); Fixing Shadows: Julius and I, FOAM Amsterdam (2019–2020); Autograph, London (2023); The 74th Berlin International Film Festival; The New York African Film Festival, Brooklyn Academy of Music, Brooklyn (2023); The Africa Center, New York (2024); Punya 2.0 Kunsthalle Bern (2024); and Kɔηsεt Pāti Accra, Ghana (2025).

Deborah-Joyce Holman is interested in how our living together in this world is shaped by the mundane and relational. They are interested in the politicised processes of interplay between material and symbolic that take place when ‘something becomes art’, and what those structures and processes might reveal about predominant systems and their conventions. Recent solo exhibitions include Galerie Gregor Staiger, Zurich; City SALTS, Basel; TANK Shanghai; Swiss Institute, New York City (all 2025); Kunstverein Freiburg (2024); Kunsthalle Bern (2023); Cordova, Barcelona; Istituto Svizzero, Palermo and Luma Westbau, Zurich (all 2022).

Nadia Huggins (b. 1984, Trinidad and Tobago, based in St Vincent and the Grenadines) is a multidisciplinary visual artist. Using photography, video and installation, her work merges documentary and conceptual practices, which centre Caribbean land and seascapes to explore the poetics that lies in the mundane and the quotidian of human life, along with its ties to temporality, memory and transformation. Within these concerns, she often explores ecological and environmental ideas, notions of community, identity and belonging, and the aesthetic of a Caribbean withdrawn from - but still affected by - the colonial or tourist gaze.  

Her most recent work has been featured in commissioned installations and international photography and visual arts exhibits. The installations include Otras Montañas, las que andan sueltas bajo el agua at Ocean Space, Venice, Italy (2025); Caribe por venir, Museo de Arte Contemporáneo de Puerto Rico, San Juan, Puerto Rico (2025) and Prospect. 6: The future is present, the harbinger is home, held in New Orleans, US (2024). Her solo exhibitions include Coral & Ash at KJCC, NYU, New York City, US (2023); Strange Territory,  at The Betsy Hotel, Miami, US, in collaboration with WOPHA (2021); and Human stories: Circa no future, at Now Gallery, London, UK (2019).

Clifford Prince King is a photographer and filmmaker based in New York.His work has been exhibited across the United States and internationally, and is held in the permanent public collections of museums including the Dallas Museum of Art, Hammer Museum, Los Angeles County Museum of Art, The Phillips Collection and the Studio Museum in Harlem to name a few. Publications with King’s photographs as commissioned work and features include: Apartamento, Aperture, BUTT, The CUT, Dazed, Fantastic Man, Frieze, i-D, Interview, Office, The New Yorker, The New York Times, Vice, and Wall Street Journal Magazine.
 

Carlos Martiel lives and works in New York. He graduated in 2009 from the National Academy of Fine Arts, “San Alejandro,” in Havana. Between 2008 and 2010, he studied in the Cátedra Arte de Conducta, directed by the artist Tania Bruguera. Martiel’s works have been included in the 11th Lanzarote Biennial, Spain; Biennial of the Americas, USA; 4th Vancouver Biennale, Canada; 14th Sharjah Biennial, UAE; 14th Cuenca Biennial, Ecuador; 57th Venice Biennale, Italy; Casablanca Biennale, Morocco; Biennial “La Otra”, Colombia; Liverpool Biennial, United Kingdom; Pontevedra Biennial, Spain; Havana Biennial, Cuba. He has had performances at The Leslie-Lohman Museum of Art, New York; USA, Solomon R Guggenheim Museum, New York; USA, El Museo del Barrio, New York; USA, Stedelijk Museum, Amsterdam, The Netherlands; La Tertulia Museum, Cali, Colombia; Centro de Arte Contemporáneo, Quito, Ecuador; Walker Art Center, Minneapolis, USA; The Museum of Fine Arts Houston (MFAH), Houston, USA; Museo de Arte Contemporáneo del Zulia (MACZUL), Maracaibo, Venezuela; Padiglione d’Arte Contemporanea, Milan, Italy; Nitsch Museum, Naples, Italy. He has received several awards, including the Franklin Furnace Fund in New York, USA, 2016; “CIFOS Grants & Commissions Program Award” in Miami, USA, 2014; “Arte Laguna” in Venice, Italy, 2013. His work has been exhibited at The São Paulo Museum of Art (MASP), São Paulo, Brazil; The Museum of Latin American Art (MOLAA), Long Beach, USA; Zisa Zona Arti Contemporanee (ZAC), Palermo, Italy; Patricia and Phillip Frost Art Museum, Miami, USA; Benaki Museum, Athens, Greece; National Museum of Fine Arts, Havana, Cuba; among others. His works are in public and private collections such as The Solomon R Guggenheim Museum, New York; The Pérez Art Museum Miami (PAMM), Miami; Museu de Arte do Rio, Rio de Janeiro.

Working largely in black and white format, Sabelo Mlangeni has built his practice around intimate photographs that draw out the inherent beauty in the ordinary. Mlangeni is driven by his interest in the notions of community and communing where a central part of his process requires him to spend significant time —weeks, months, sometimes years—with those he chooses to photograph; sharing intimately in their thoughts, feelings, stories and everyday lives. His practice is a continuous survey of the most challenging, beautiful and confounding aspects of the human experience.His work has been widely exhibited including most recently at Smithsonian National Museum of African Art in Washington, D.C. (2026), MoMA in New York (2025), MASP in São Paulo (2025), the Norval Foundation in Cape Town (2025), The Art Institute of Chicago (2024), Staatliche Kunsthalle Baden-Baden (2024), Deutsche Börse Photography Foundation in Eschborn (2024), Museum Folkwang in Essen (2024), The 60th International Art Exhibition of La Biennale di Venezia (2024). 

Zanele Muholi is a visual activist, humanitarian, and art practitioner invested in educational activism, community outreach, social work, and youth development. They focus on the documentation and celebration of the lives of South Africa’s Black lesbian, gay, bisexual, transgender, Queer, and intersex communities.Beginning in 2006, Muholi responded to the continuing discrimination and violence faced by the LGBTQIA+ community by photographing Black lesbian and transgender individuals, resulting in the ongoing portrait project, Faces and Phases. Their more recent photographic series Somnyama Ngonyama (Hail the Dark Lioness) shifts the lens, with the artist becoming both participant and image-maker. Experimenting with different characters and archetypes, this ongoing series of self-portraits references specific events in South Africa’s political history.

Solo exhibitions of Muholi’s work have taken place at several institutions including Casa Santa Ana, Panama City, Panama; Serralves Museum, Porto; Tate Modern, London; the San Francisco Museum of Modern Art; Instituto Moreira Salles Paulista, São Paulo; the Seattle Art Museum; the Durban Art Gallery, South Africa; Stedelijk Museum, Amsterdam; and the Brooklyn Museum, New York. 

Shikeith is an interdisciplinary artist and filmmaker whose work explores the emotional and psychological experiences of Black men, shaped by the ongoing legacies of colonialism and systemic inequality. Engaging with hauntological aesthetics and African diasporic spiritual traditions, his practice traces how the lives of Black men remain haunted—not merely by the past as memory, but through the atmospheric and interior conditions where racial history persists as a spectral force, unsettling the boundary between what is endured, imagined, and seen. He holds a BA in Integrative Arts from Pennsylvania State University and an MFA from the Yale School of Art. His work has been exhibited nationally and internationally, including presentations at Locust Projects (Miami), the Mattress Factory (Pittsburgh), and the Performa Biennial (New York). Shikeith’s work is held in the permanent collections of the Phillips Collection (Washington, D.C.), the Hammer Museum (Los Angeles), the Carnegie Museum of Art (Pittsburgh), the Baltimore Museum of Art, and the Museum of Fine Arts, Houston. He has received several honors, including the inaugural VMFA Aaron Siskind Award for Photography (2025), the Pittsburgh Foundation Exposure Artist Award (2022), and the Joan Mitchell Foundation Painters & Sculptors Grant (2019). The artist lives and works in Pittsburgh, PA. 

Texas Isaiah is an award-winning first-generation visual narrator born and raised in Brooklyn, NY, who lives in NYC and LA. He is an autodidact with a giant appetite for traveling, so his process and work aren't tethered to one geographical location. He is one of the 2018 grant recipients of Art Matters, a 2019 recipient of the Getty Images: Where We Stand Creative Bursary grant, a 2020-21 artist in residence at The Studio Museum in Harlem, a 2020 Clio Awards Silver winner for visual curation on Being Seen Podcast, and a finalist for the 2022 Artadia Los Angeles Award.

Texas Isaiah’s work has been exhibited internationally at SCHIRN KUNSTHALLE FRANKFURT (Germany), Dalhousie Art Gallery (Halifax, NS), Aperture Foundation Gallery (NYC), Studio Museum in Harlem (NYC), Fotografiska (NYC), Residency (LA), Hammer Museum (LA), The Kitchen (NYC), Residency Art Gallery (LA), Charlie James Gallery (LA).

Tourmaline is an artist, filmmaker, writer, and activist whose practice highlights the experiences of Black, queer, and trans communities and their capacity to impact the world. Her films and photographs rewrite mainstream narratives and cultural histories to initiate a paradigm shift and imagine a more pleasure-filled future. Tourmaline’s practice invites us to fundamentally reshape our beliefs about what is possible. Tourmaline has had solo exhibitions at MASP, Sao Paolo; MUDAM, Luxembourg; and Chapter NY, New York. Her work has been included in group exhibitions at the Tate Modern, London; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; and the Studio Museum in Harlem, New York among other venues.

Ajamu X (FRPS) is a darkroom/fine art photographic artist. His practice places the sensual-material attributes of process and production, at the centre of the work and whose subject matter is similarly focused on black queer sensuality. His highly crafted images privilege those tangible/tactile sensuous elements of a socially engaged photographic practice which literally/metaphorically rubs up against the flattening out of black queer photographic practices to simple notions of identity – thinking, representation and narrow socio-political framing. His work has been exhibited in many prestigious museums, galleries worldwide and alternative spaces worldwide. In 2022, he was canonised by The Trans Pennine Travelling Sisters as the Patron Saint of Darkrooms and received an honorary fellowship from the Royal Photographic Society. His work sits within many private and public collections including: The Rose Art Museum, GOMA, Autograph, Tate Britain, Arts Council of England, Victoria & Albert Museum, Matin Parr Foundation, The Walker Gallery and the National Portrait Gallery. In 2025, Tate published a monograph on his practice as part of its Tate Photographic Series.

Jamal Batts is a writer, curator, and Assistant Professor of Black Studies at Swarthmore College. His work considers the relation between Black queer contemporary art, sexuality, and risk. Previously, he has served as a Stanford University IDEAL Provostial Fellow in the Department of Art and Art History, a UC President’s Postdoctoral Fellow in African American Studies at UC Irvine, a Curator-in-Residence at the University of Pennsylvania, and a Robert Rauschenberg Foundation Scholar-in-Residence. His writing is published and forthcoming in the catalogue Trigger: Gender as a Tool and a Weapon (New Museum), Los Angeles Review of Books, b2o: boundary 2 online, Open Space, ASAP/J, Social Text, and SFMOMA’s website in conjunction with their Modern Cinema series. He is a member of the curatorial collective The Black Aesthetic who have programmed four seasons of experimental Black film and published three edited volumes.

Camille Brown is an Associate Curator at The Phillips Collection in Washington DC. She curated the exhibition Essex Hemphill: Take care of your blessings, and co-curated shows including Out of Many: Reframing an American Art Collection with Adrienne L. Childs, Where We Meet: Selections from the Howard University Gallery of Art and the Phillips Collection, and Pour, Tear, Carve: Material Possibilities in the Collection with Renee Maurer. Brown has coordinated exhibitions including the DC presentation of African Modernism in America, 1947–67. She has worked in the curatorial departments of the Norton Simon Museum of Art in Pasadena, the Metropolitan Museum of Art, and the Whitney Museum of American Art. She holds degrees from Loyola University in New Orleans and New York University.

Antawan I. Byrd is an Assistant Professor of Art History at Northwestern University and an Associate Curator of Photography and Media at the Art Institute of Chicago. His research and teaching focus on the art and culture of Africa and the African diaspora from the late nineteenth century to the present. He recently co-curated Project a Black Planet: The Art and Culture of Panafrica (2024–2026), a major survey exhibition examining Pan-Africanism’s influence on culture throughout the long twentieth century. The exhibition opened at the Art Institute of Chicago in December 2024, traveled to the Museum of Contemporary Art, Barcelona in November 2025, and will open at the Barbican Art Centre, London in June 2026. He curated Mimi Cherono Ng’ok: Closer to the Earth, Closer to My Own Body (2021) and co-curated The People Shall Govern! Medu Art Ensemble and the Anti-Apartheid Poster (2019), the 2nd Lagos Biennial of Contemporary Art (2019), and Kader Attia: Reflecting Memory at Northwestern’s Block Museum of Art (2017). He was an associate curator for the 10th Bamako Encounters: Biennale of African Photography (2015). In 2017, he received the Award for Curatorial Excellence from the Arts Council of the African Studies Association. From 2009 to 2011, he was a Fulbright Fellow and curatorial assistant at the Centre for Contemporary Art, Lagos, where he currently serves on the board of advisors. He is also a member of the Board of Trustees of the Graham Foundation, Chicago. Byrd is currently working on Being Seen Listening: Art, Pan-Africanism, and the Sound Politics of the Sixties, a book-length study examining the impact of sound technologies on art and decolonial politics across Africa and its diaspora.

Alanna Fields is a mixed-media artist and archivist whose work both deconstructs and reconstructs Black queer memory and history through a multidisciplinary engagement with photographic archives.  Fields’ work has been exhibited nationally and internationally at Paris Photo, The Armory Show, Art Basel Miami, and Expo Chicago. Her work has been featured in exhibitions  at a variety of institutions including The Brooklyn Museum, The Aldrich Contemporary Museum, The High Museum of Art, The Sugar Hill ​​Children’s Museum of Art and Storytelling, and The Museum of Contemporary African Diasporic Art. Fields received her MFA in Photography from the Pratt Institute and has given lectures on her work at Penumbra Foundation, Aperture, Light Work, NYU Tisch School of the Arts, Parsons School of Design at The New School, Syracuse University, and Stanford University. Fields is a Gordon Parks Foundation Scholar and Pollock Krasner Foundation grant recipient who has participated in residencies at Silver Arts Projects, Light Work, Baxter St. CCNY, Fountainhead Arts, and TILT Institute for the Contemporary Image, among others.

Deborah-Joyce Holman is interested in how our living together in this world is shaped by the mundane and relational. They are interested in the politicised processes of interplay between material and symbolic that take place when ‘something becomes art’, and what those structures and processes might reveal about predominant systems and their conventions. Recent solo exhibitions include Galerie Gregor Staiger, Zurich; City SALTS, Basel; TANK Shanghai; Swiss Institute, New York City (all 2025); Kunstverein Freiburg (2024); Kunsthalle Bern (2023); Cordova, Barcelona; Istituto Svizzero, Palermo and Luma Westbau, Zurich (all 2022).

Nadia Huggins (b. 1984, Trinidad and Tobago, based in St Vincent and the Grenadines) is a multidisciplinary visual artist. Using photography, video and installation, her work merges documentary and conceptual practices, which centre Caribbean land and seascapes to explore the poetics that lies in the mundane and the quotidian of human life, along with its ties to temporality, memory and transformation. Within these concerns, she often explores ecological and environmental ideas, notions of community, identity and belonging, and the aesthetic of a Caribbean withdrawn from - but still affected by - the colonial or tourist gaze.

Her most recent work has been featured in commissioned installations and international photography and visual arts exhibits. The installations include Otras Montañas, las que andan sueltas bajo el agua at Ocean Space, Venice, Italy (2025); Caribe por venir, Museo de Arte Contemporáneo de Puerto Rico, San Juan, Puerto Rico (2025) and Prospect. 6: The future is present, the harbinger is home, held in New Orleans, US (2024). Her solo exhibitions include Coral & Ash at KJCC, NYU, New York City, US (2023); Strange Territory,  at The Betsy Hotel, Miami, US, in collaboration with WOPHA (2021); and Human stories: Circa no future, at Now Gallery, London, UK (2019).

Texas Isaiah is an award-winning first-generation visual narrator born and raised in Brooklyn, NY, who lives in NYC and LA. He is an autodidact with a giant appetite for traveling, so his process and work aren’t tethered to one geographical location. He is one of the 2018 grant recipients of Art Matters, a 2019 recipient of the Getty Images: Where We Stand Creative Bursary grant, a 2020-21 artist in residence at The Studio Museum in Harlem, a 2020 Clio Awards Silver winner for visual curation on Being Seen Podcast, and a finalist for the 2022 Artadia Los Angeles Award.

Texas Isaiah’s work has been exhibited internationally at SCHIRN KUNSTHALLE FRANKFURT (Germany), Dalhousie Art Gallery (Halifax, NS), Aperture Foundation Gallery (NYC), Studio Museum in Harlem (NYC), Fotografiska (NYC), Residency (LA), Hammer Museum (LA), The Kitchen (NYC), Residency Art Gallery (LA), Charlie James Gallery (LA).

Clifford Prince King is a photographer and filmmaker based in New York.His work has been exhibited across the United States and internationally, and is held in the permanent public collections of museums including the Dallas Museum of Art, Hammer Museum, Los Angeles County Museum of Art, The Phillips Collection and the Studio Museum in Harlem to name a few. Publications with King’s photographs as commissioned work and features include: Apartamento, Aperture, BUTT, The CUT, Dazed, Fantastic Man, Frieze, i-D, Interview, Office, The New Yorker, The New York Times, Vice, and Wall Street Journal Magazine.

Serubiri Moses is a Ugandan author, editor, and curator. He is known for his focus on global art history, and is the author of several book chapters, including “Can Planting Trees Tell an Alternative Art History?” (2021) and “Death and the Stone Age: Ugandan Art Institutions, 1941-1967” (2017). He is the co-editor of Forces of Art: Perspectives from a Changing World (Valiz, 2021) and Reza Aramesh: Action By Number (SKIRA, 2024), and the After Okwui series at e-flux journal. He currently teaches in the Art History department at Hunter College, CUNY, Visiting Faculty at the Center for Curatorial Studies, Bard College, and is a PhD Candidate in the Center for Research and Education in Art and Media at the University of Westminster, London.

Ade Omotosho is the Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art. He received his BA in Art History from the University of Texas at Austin, where he wrote a thesis on the photography of Rotimi Fani-Kayode, and his MA from the Williams Graduate Program in the History of Art, where he wrote a monographic essay on Marlon Riggs’s 1989 film Tongues Untied. From 2015–17, he was a Mellon Undergraduate Curatorial Fellow in the Department of Photography at the Museum of Fine Arts, Houston, and from 2017–19 he served as the Ford Foundation Curatorial Fellow at Pérez Art Museum Miami. He was the Miami Editor-at-Large for Burnaway and is a former National Book Critics Circle Emerging Critics Fellow. He has contributed writing to outlets such as Hyperallergic, Art in America, and the publications for Prospect New Orleans, Made in L.A., and the Venice Biennale.