Nyeema Morgan (she/her/they) is a visual artist working between sculpture, drawing, and print-based media. Her works are characterized by an interplay between text, image, and object. Through references to familiar cultural material (popular jokes, canonical artworks, recipes, etc.), her works point to the soft aesthetic power of systems of knowledge, information production, and the mechanics of representation. Solo and two-person exhibitions of her work have been presented at the Philadelphia Art Alliance; the Viewing Room at Marlborough Contemporary, New York; the Boulder Museum of Contemporary Art, CO; Patron Gallery, Chicago; and Grant Wahlquist Gallery, Portland, ME. Group exhibitions include shows at the Drawing Center, New York; Galerie Jeanroch Dard, Paris; the Bowdoin College Museum of Art, Brunswick, ME; and the CSS Bard Galleries, Annandale-on-Hudson, NY. Morgan earned degrees from the Cooper Union and California College of the Arts and attended the Skowhegan School of Painting and Sculpture. Her work is held in public collections at the Walker Art Center, Minneapolis; the Bowdoin College Museum of Art; and the Worcester Art Museum, MA.

Mari Eastman (she/her) makes work that emerges from a pictorial study of images from magazines and the internet, which become intertwined with personal narratives, executed in an intentionally loose manner. She has exhibited at Bombon Projects, Barcelona; Broadway Gallery, New York; the Hammer Museum, Los Angeles; Los Angeles Contemporary Exhibitions; the Orange County Museum of Art, CA; the Berkeley Museum of Art; Cherry and Martin Gallery, Los Angeles; Sprüth Magers, Munich; Gladstone Gallery, New York; and Maureen Paley, London, among other venues. Her work has been included in such publications as Modern Painters and the New York Times and on the websites Artforum.com and Contemporary Art Daily. Eastman holds an MFA from the School of the Art Institute of Chicago and is on the faculty at the University of Chicago.

Ebitenyefa Baralaye (he/him) is a ceramicist, sculptor, designer, and educator. His work explores cultural, spiritual, and material translations of objects, text, and symbols interpreted through a diasporic lens and abstracted around the aesthetics of craft and design. Baralaye’s work has been exhibited nationally and internationally, at Friedman Benda Gallery, New York; David Klein Gallery, Detroit; Shoshana Wayne Gallery, Los Angeles; the Museum of the African Diaspora, San Francisco; and the Korea Ceramic Foundation, Icheon. Baralaye has participated in residencies at the Watershed Center for the Ceramic Arts, the Hambidge Center, and the Elizabeth Foundation for the Arts Studio Program. His work was featured in the Objects: USA 2020 exhibition and catalog. The recipient of a BFA in Ceramics from the Rhode Island School of Design and an MFA in Ceramics from Cranbrook Academy of Art, he is currently an Assistant Professor at the Stamps School of Art and Design at the University of Michigan.

Laura Letinsky (she/her) has been a Professor at the University of Chicago since 1994. She shows with Yancey Richardson Gallery, New York, and Document, Chicago and Lisbon, and exhibits internationally at venues including PhotoEspaña, Madrid; the Museum of Modern Art, New York; Focus Photography Festival, Mumbai, India; the Massachusetts Institute of Technology, Cambridge; Design Basel; The Photographers’ Gallery, London; and the Denver Art Museum, CO. Awards include the Maison Dora Maar Residency, the Canada Council for the Arts International Residency, the Künstlerhaus Bethanien residency, Canada Council for the Arts project grants, the Anonymous Was a Woman Award, and the John Simon Guggenheim Fellowship. Letinsky’s work has been published in monographs and catalogs such as To Want for Nothing (2019), Time’s Assignation (2017), Ill Form and Void Full (2014), Feast: Radical Hospitality in Contemporary Art (2013), After All (2010), Hardly More Than Ever (2004), Blink (2002), and Venus Inferred (2000). She holds a BFA from the University of Manitoba and an MFA in Photography from the Yale School of Art.

Keioui Keijaun Thomas (she/her/kiwi) creates live performance and multimedia installations that address the multifaceted realms of Black identity formation. Through a captivating fusion of voice, video installation, and sculpture, Thomas constructs immersive environments that blur the boundaries between the body, its surroundings, and its social meanings. Her work insists on the transformative power of Black life, reclaiming space, time, and nature as sites of possibility, resilience, and becoming. Thomas is a Baroness Nina von Maltzahn Fellow, a Shandaken: Storm King Artist-in-Residence, a Jerome Foundation grant recipient, a MAP Fund awardee, the inaugural winner of the Queer|Art Illuminations Grant for Black Trans Women Visual Artists, and a Franklin Furnace Fund recipient. Her work has been published in the Movement Research Performance Journal and Women and Performance: A Journal of Feminist Theory and featured in the New York Times, Artforum, and Frieze. The recipient of a BFA with honors from the School of Visual Arts, she earned her MFA and received the James Nelson Raymond Fellowship from the School of the Art Institute of Chicago.

Imin Yeh (she/her) works in sculpture, installation, artist publications, and participatory projects, expanding the role paper and print have played in the recording, copying, and spreading of the human story for more than a millennium. She has recently exhibited at Catharine Clark Gallery, San Francisco; Grizzly Grizzly, Philadelphia; San José Museum of Art, CA; the Asian Art Museum, San Francisco; and the Contemporary Jewish Museum, San Francisco. Recent awards include a Creative Development Award from the Heinz Foundation, a Eureka Fellowship from the Fleishhacker Foundation, and an Individual Artist Grant from the San Francisco Arts Commission. She is currently an Associate Professor of Print Media at Carnegie Mellon University School of Art.

Liz Collins (she/her) is known for pushing the boundaries of art and design through innovative and experimental work in fabric, yarn, and other materials and techniques associated with textile media. Whether in the form of textile, painting, drawing, or installation, Collins frequently explores the dichotomy of structure and entropy—qualities inherent to textile that speak to the fissures present in broader architectural, political, and social structures. Collins’s work has recently been on view in the 60th Venice Biennale, Foreigners Everywhere, curated by Adriano Pedrosa, and in Woven Histories: Textiles and Modern Abstraction, curated by Lynne Cooke and presented at the Los Angeles County Museum of Art; National Gallery of Art, Washington, DC; National Gallery of Canada, Ottawa; and Museum of Modern Art, New York. In 2025, the RISD Museum in Providence, RI, organized her mid-career retrospective, Liz Collins: Motherlode, which was accompanied by a monograph published by Hirmer.

Heidi Schwegler (she/her) works in the interstitial ruins of Beijing, Los Angeles, New York City, and suburban America. She rescues haphazardly disused scraps from the bowels of the megalopolis: chicken bones, Big Gulps, broken signs, lost shoes, crumpled pylons, take-out containers. Plastic, fiber, and bone: these materials decay but never decompose. She resynthesizes her sources into facsimiles with cast glass, gold, silver, and wax, resulting in artwork that persists in a “living death.” Recent exhibition venues include Laguna Art Museum, Laguna Beach, CA; Garrett Museum of Art, IN; WBG London Projects, London; Asphodel, New York; and Marjorie Barrick Museum of Art, Las Vegas. Schwegler is a Ford Family Fellow, a MacDowell Fellow, and a Yaddo Artist-in-Residence. She is the founder of Yucca Valley Material Lab, a platform for making and thinking.

Ollie Goss (they/them) is an artist, puppeteer, and performance maker whose work blends sculptural installations, animated objects, retooled electronics, and live performance. They attempt to achieve this through a prefigurative politics, seeking to align the means and the ends within their work. In 2016, they received the Thomas J. Watson Fellowship, which took them to seven countries to research puppetry and collaborative performance-making. Their work has been shown in places such as Icebox Project Space and Temple Contemporary, Philadelphia; the Wassaic Project, Wassaic, NY; the Philadelphia Fringe Festival; and Dixon Place and La MaMa Galleria, New York. They regularly hold performance events throughout Philadelphia and, in collaboration with Hannah Tardie, annually curate work for the exhibition portion of Electronics Faire.

SR Lejeune (they/them) was the 2023 West Bay View Foundation Fellow at Dieu Donné and a 2025 Windgate Artist-in-Residence at SUNY Purchase. They have additionally done residencies at the Dirt Palace, lower_cavity, the Helene Wurlitzer Foundation of New Mexico, WSW, and Bemis Center for Contemporary Arts. Their recent solo exhibitions include skylights, part of the CHAMBER series at lower_cavity, Holyoke, MA; witness marks, Jordan Schnitzer Gallery at Dieu Donné, Brooklyn; contributing structure, Turchin Center for the Visual Arts, Boone, NC; and tilt, Richard and Dolly Maass Gallery at SUNY Purchase, NY. They have taught workshops at Penland School of Craft, WSW, Dieu Donné, SUNY Purchase, Bard College, and Yucca Valley Material Lab, and they co-facilitate an experimental paper school in the Hudson Valley with artist Lukaza Branfman-Verissimo. Lejeune received a BA with high honors from Oberlin College, was a Core Fellow at Penland, and holds an MFA in Sculpture from the Yale School of Art. They are currently building out a manual machine shop in Pine Plains, NY.