Name: Second Sundays: September 2026
Start: 2026-09-13
End: 2026-09-13
Location: Pioneer Works

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This week only, we’re heavily discounting our #PWPress publications to make way for new projects. Find artist-created books for $5, $10, & $15—sales raised from the PW Store are reinvested into funding new, ambitious projects by emerging and underrepresented artists and writers.

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From November 28 through December 14, take 20% off products in the Gift Guide with code: ULTRAFESTIVE. 

Ragas 

Pioneer Works's galleries and garden will be closed this Sunday, October 19 for Ragas Live Festival 2025. Learn more 

June closing

Please note, Pioneer Works will be closed for daily admissions until July 7th. We 

open for ticketed programs, view our calendar 

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Celebrate 10 years of Pioneer Works by shopping the PW Press Archive Sale! Through October 31, take 10% off Pioneer Works Press items with code 

Flash Flood Closures

Building Closures Due to Flash Floods

Due to weather conditions, Pioneer Works is suspending open gallery hours for Friday, September 29. MHYSA's performance has been rescheduled for Sunday, October 1, with all tickets being transferred to the new date.

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 for the entire month of April and receive an automatic 20% off books, records, apparel, and more. Members save 35%—learn more about membership 

Our galleries and garden are closed to the public today for a United Sounds NYC Festival 2024. Learn more about the festival 

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This Saturday, October 31, our galleries and garden are open until 8 PM for Fall Saturdays. 

Aura Closure 5/27

Please note:

 will close early at 5pm on Saturday, May 27. Learn more and plan your visit 

CEO Announcement

Just Announced: Pioneer Works Names Mara Manus Chief Executive Officer

The Board of Directors of Pioneer Works is pleased to announce that Mara Manus, former Executive Director for New York State Council on the Arts (NYSCA), has been appointed as the organization’s new Chief Executive Officer. 

We are grateful for your engagement and support of Pioneer Works over the last year. Now through December 31st, we’re fundraising to meet our end of year goal and close out 2024.

85% of our programming is free or accessibly-priced and we rely on our community of supporters to make that possible. Give now to ensure that we can continue nurturing artists and audiences through 2025.


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We're closed all day Friday, November 11 for our annual Village Fête Benefit. To learn more about the After Party and get tickets, visit 

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Deinstall Closure

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 will close early at 5pm on Saturday, June 3. Learn more and plan your visit 

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We're pleased to announce the first major renovation of Pioneer Works! To accommodate the first phase of our construction, we're temporarily relocating to 133 Imlay Street opening in Spring 2022.

Early Closure 5/10/23

Due to programming, Pioneer Works will be closed to the public on Wednesday, May 10. We will be open from Thursday through Sunday for the remainder of the week. Learn more and plan your visit 

Our galleries and garden are currently closed for installation. We will reopen on 

Friday, September 12, 2025, from 7–9 PM

Raúl de Nieves, Tega Brain, and Sam Lavigne

Since 2013, Pioneer Works has hosted Second Sundays, a free monthly open house. Highlighting our programs, artists-in-residence, and Red Hook community members, Second Sundays features open studios, exhibitions, workshops, live music, and food—with programming across all three floors and in our garden.

Second Sundays at Pioneer Works is supported in part by the New York City Department of Cultural Affairs in Partnership with the City Council and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. 

Second Sundays is funded in part by a grant from the New York City Tourism Foundation, and additional support for Second Sundays is provided by the Emma & Georgina Bloomberg Foundation and the Robert Lehman Foundation.

Open Studios at Second Sundays is supported in part by the Andy Warhol Foundation for the Visual Arts and public funds from the National Endowment for the Arts.

NYC Cultural Affairs

Face Foundation

Institut Français

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National Endowment for the Arts

Villa Albertine

Andy Warhol Foundation for the Visual Arts 

New York State Council on the Arts

New York City Tourism Foundation

, a multimedia installation created by Helsinki-based artist Tuomas A. Laitinen, draws on more than a decade of research in octopus intelligence, sleep, and consciousness.

Developed in collaboration with neuroscientist Sam Reiter of the Okinawa Institute of Science and Technology (OIST) and produced with guidance and support by PALO, the exhibition centers on a multichannel, titular video work that ensconces viewers within kaleidoscopic imagery of the shifting camouflage patterns, skin textures, and colors of octopuses. The immersive video, which includes both original footage and recordings by OIST of octopus sleep patterns, depicts the cephalopod’s distinct shapeshifting habits as they progress between rest and transformation. Scaled dramatically and edited into a continuous visual landscape, it captures multiple octopus bodies merging into a single undulating, painterly terrain. As Laitinen describes it, the work is intended to be experienced not only visually but physically, something viewers "feel in the body."

At the center of the exhibition, water-filled tanks contain tubular, blown-glass sculptures, conceived by the artist as speculative proposals for octopuses. These sculptural forms are activated through site-specific arrangements by renowned 86-year-old Japanese ikebana master Kosen Ohtsubo, whose experimental compositions create an unexpected dialogue between marine biology, contemporary sculpture, and centuries-old floral traditions. Beyond the gallery confines, a “tentacular” spatial audio installation, titled 

, spills across the three-storied Main Hall of Pioneer Works. Intended to evoke the eight arms of an octopus, the work incorporates vocals by Kenyan composer Nyokabi Kariuki and is structured around an eight-note "octachord." Using advanced directional audio technology, eight ultrasonic speakers positioned throughout the space emit highly concentrated beams of sound rather than broadcasting uniformly through the room, creating the effect of creeping tentacles of sound. As visitors move through the installation, they encounter shifting fragments of the composition that appear and disappear according to their position in the installation.

 began with Laitinen's investigation of the mythologies and geopolitics of copper, the conductive element that powers modern technological infrastructure. This research led the artist to explore circulatory systems across biological and technological scales, ultimately revealing an unexpected connection: octopuses rely on copper-based blood chemistry to efficiently transport oxygen in deep-ocean environments. From this discovery emerged a broader artistic inquiry into the octopus's decentralized nervous system, distributed intelligence, and unique sensory capacities, and led Laitinen to connect with researchers studying the octopus brain in Okinawa, Japan. The research and footage collected during this time was then refined and edited during Laitinen’s Visual Arts residency at Pioneer Works in the Fall of 2024, in collaboration with Florenz.

These investigations have become a lens through which Laitinen examines larger questions into neuroscience, consciousness, philosophy, and ecological interconnectedness. Bringing together scientific research, contemporary art, and Japanese cultural traditions, 

 invites audiences to consider what non-human forms of intelligence might reveal about perception, awareness, and our relationship to the natural world. 

 is an artist working with moving images, sound, and glass. His practice composes installations and situations that inquire into the interconnectedness of language and the body across continuously morphing environments. Recent works employ glass as both vessel and threshold, a material that mediates proximity, containment, and transmission, while ultrasonic frequencies are emitted in space as spectral agents operating at the limits of perception. Drawing from heterogeneous mythologies and embodied forms of knowledge, Laitinen creates hallucinatory registers in which perception is continually displaced and reorganized through nonlinear experience.

Working also as the composer TAL, Laitinen released his debut album Sapiduz (Öm Sound / Svart Records) in 2022. The record assembles traces of early music, mutated vocals, and granular electronic composition into a densely layered sonic tapestry, extending concerns that recur throughout his installation practice. Laitinen's works have recently been shown in the 21st Biennale of Sydney, Avesta Art 2026, 7th Bucharest Biennale, Screen City Biennale 2019 (Stavanger), SADE LA (Los Angeles), Amado Art Space (Seoul), A Tale of a Tub (Rotterdam), Art Sonje Center (Seoul), Helsinki Contemporary, Museum of Contemporary Art Kiasma, EMMA – Espoo Museum of Modern Art, MOCA Shanghai & Cinemateca do MAM Rio de Janeiro.

 is a Japanese ikebana artist. Active for more than six decades, he has worked widely in Japan and abroad. Over many years in the education department of Ikebana Ryuseiha, Ohtsubo pursued the technical and formal traditions of ikebana while teaching generations of students. At the same time, his practice includes a wide range of avant-garde ikebana works, from small compositions to spatial installations. He frequently uses vegetables and discarded objects, often working with deliberately simple methods. A lifelong jazz enthusiast, he values improvisation and responsiveness, often allowing materials and circumstances to shape the final form of a work. His work has been presented internationally, including recent exhibitions at Kunstverein München and the Shanghai Biennale. He lives and works at Flower Planet, his studio in Saitama, Japan.

 is a Helsinki-based art agency founded by Stéphane Querrec to support visual artists, filmmakers, and musicians from Finland. The organization previously co-produced the "

 episode with the Performa Biennial in 2023 and partnered with foreign organizations on artist co-commissions, most recently with Anu Pennanen, Antye-Greie-Ripatti aka AGF, 

is commissioned by Pioneer Works with production support by PALO. The exhibition is made possible with support from the Jacques and Natasha Gelman Foundation and Dalio Philanthropies. It is also supported in part by The Andy Warhol Foundation for the Visual Arts, The Alfred Kordelin Foundation, The Niilo Helander Foundation, The Finnish Cultural Foundation, The Promotion Centre for Audiovisual Culture (AVEK), Oskar Öflunds Stiftelse sr, Arts Promotion Centre Finland, Finlandia Foundation National, the Consulate General of Finland in New York, Frame Contemporary Art Finland, the Finnish Cultural Institute in New York, the National Endowment for the Arts, and by public funds from New York City Department of Cultural Affairs in Partnership with the City Council, the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Alfred Kordelin Foundation

Siphon

Tuomas A. Laitinen: Siphon

is an installation grounded in artist Finnegan Shannon’s longtime fantasy of an exhibition space that would meet their access needs. The PW Resident Alum reimagines a 12-foot mechanized conveyor belt as a vehicle to bring artworks to visitors, who are invited to sit on surrounding furniture and engage with a parade of objects through any combination of touch, sight, and sound. During its three-month run, the interactive installation acts as a foundation for three successive solo presentations of new works created for this project by emerging and established figures of New York City’s disability art scene: Joselia Rebekah Hughes, Ariana Martinez, and Alex Dolores Salerno.

Thoughtfully designed as a space for rest and play, 

 continues Shannon’s ongoing exploration of conveyor belts. In their own words, “This infrastructure follows in a lineage of 

 hacking: taking something not built for this purpose, and trying to figure out what it can do and how it can create the experience that I am interested in, which is having a multisensory art experience without having to stand for long periods of time.”

The title stems from Shannon’s relationship to the concept of interdependence, particularly as it pertains to disability culture. The artist emphasizes the collaborative nature of both their practice and their everyday life—made possible through a community of writers, artists, activists, and friends—and challenges the concept of the individualized ‘genius.’ “Interdependence is central to my life as a disabled person,” they note, describing what can be both a utopian ideal and a daily reality. “I rely on other people and other people rely on me. That is naturally also part of my work, so it is inherently collaborative. My practice values the insights and expertise of all who touch it and shape it.”

The exhibition at Pioneer Works will open with a presentation by Ariana Martinez, on view through October 4th—a soundscape accompanied by a collection of objects that comprise a "tactile score.” Using contact microphones to make environmental field recordings, it explores touch as a shared language between ecologically entangled entities. “In the absence of shared speech,” Martinez asks, “how might we extend the range of our senses to access other forms of understanding?”

From October 7th through November 1st, the installation will host Joselia Rebekah Hughes’s 

Masque On: Y'all taking spiritual hits; I'm making plans

, a multi-channel video on portable DVD players in which the artist performs as actor, editor, writer, and researcher. Using Black study-informed disability methods and interventions, Hughes interweaves her concerns and priorities with escape routes and linguistic capacities to explore the aesthetics of being Black, alive, disabled, and laughing.

The final presentation—on view from November 4th through December 20th—originates from Alex Dolores Salerno’s personal and familial experience with coffee, while investigating the debilitating relationships between commodity crops, colonial exploitation, and the climate crisis. Through rest, play, and stim with ritualistically crafted objects as well as found and archival materials, the work prompts us to ground our coffee and everyday practices of consumption in a deeper sense of connection and accountability to the more-than-human world, our global dependencies, the earth, and one another.


The exhibition is in the Second Floor Gallery, which is accessible via an elevator that connects all floors of the Pioneer Works building. There are gender-neutral, accessible bathrooms on all three floors.

This exhibition offers plentiful seating and a place to lie down. There is low-pile carpet in the room. Touch is prioritized throughout the exhibition, and any visual materials are described in an audio description track available in the space and will also be available digitally when the exhibition opens.

In solidarity with the artists and your fellow visitors, we ask you to wear a mask in the space. Three-ply masks are provided, and there are also two Corsi-Rosenthal DIY air filters in the approximately 600 square-foot room.

The conveyor belt itself masks a noise, and there is ambient audio during Ariana Martinez’s exhibition. Earplugs are available in the exhibition space.

Alex Dolores Salerno’s exhibition uses coffee beans—both roasted and unroasted—which produce some scent. If this impacts your ability to visit the exhibition, please contact info@pioneerworks.org. 

Please also contact info@pioneerworks.org with any further accessibility questions or requests.

is an artist experimenting with forms of access. They intervene in ableist structures with humor, earnestness, and rage. Some of their recent work includes 

, a collaboration with Bojana Coklyat that explores the expressive potential of image description; 

, a series of benches and cushions designed for exhibition spaces; and 

, a conveyor-belt-centered exhibition that prioritizes rest and play. They have done projects with MUDAM Luxembourg, the Queens Museum, moCa Cleveland, the High Line, MMK Frankfurt, MCA Denver, and Nook Gallery. Their work has been supported by a Wynn Newhouse Award, an Eyebeam fellowship, a Disability Futures Fellowship, a United States Artists Fellowship, and grants from Art Matters Foundation, Canada Council for the Arts, and the Disability Visibility Project. Their work has been written about in 

 is a writer, artist, freelance access worker, and editor born, raised, and still living in New York City. She works as a visual arts teaching artist with Lincoln Center for the Performing Arts' education department. The artist has exhibited or shared work at Smith College Museum of Art, MoCA Cleveland, Institute of Contemporary Art: VCU, Participant Inc., Lincoln Center, MoMA, Leslie Lohman Museum, Bard College, Swarthmore College, Whitney Museum of American Art, and elsewhere. Her writing has been published in the 59th Carnegie International catalog (2026), 

(Eureka Press, 2025). She earned her MFA in writing from The Milton Avery Graduate School of the Arts at Bard College.

is a queer, nonbinary artist of Puerto Rican descent based in The Bronx, New York. Their practice is grounded in the knowledge that processes of displacement, debility, and environmental destruction leave indelible marks upon the body. Through sculpture, print, and time-based media, Martinez develops tactile language, navigational tools, and shared rituals for grief and repair. The artist holds an M.F.A from Rutgers University’s Mason Gross School of the Arts, a B.F.A in Sculpture from Rhode Island School of Design and a B.A. in Urban Studies from Brown University. Their work has appeared at Westbeth (NY), the Re-Institute (NY), the Open City Documentary Festival (UK), and the Barbican Cultural Center (UK). Martinez has been an artist in residence at The Ragdale Foundation (IL), The James Castle House (ID), the Haystack Mountain School of Crafts (ME), the Virginia Center for Creative Arts, and elsewhere.

is an interdisciplinary artist based in Lenapehoking (Brooklyn, New York) in Turtle Island in Abya Yala with Ecuadorian and Italian-American roots. Their practice is informed by queer, trans and crip communities, and anti-capitalist revolution that centers interdependence and nurtures connection to the earth. They exhibit at venues such as Museum MMK für Moderne Kunst (Frankfurt), Espai d'Art Contemporani de Castelló (Castellón de la Plana), Real Art Ways (Hartford, CT), Brooklyn Museum, Leslie-Lohman Museum of Art, and the Ford Foundation Gallery (NYC). Salerno received their MFA in Fine Arts from Parsons School of Design, and they have been awarded a Wynn Newhouse Award and an Art Matters Foundation Artist2Artist Fellowship. Their most recent residencies include the LMCC Workspace Residency at Lower Manhattan Cultural Council, the Winter Workspace Residency at Wave Hill (NYC), and the No Lugar AIR Program at No Lugar – Arte Contemporáneo (Quito, Ecuador)

is supported in part by the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, public funds from New York City Department of Cultural Affairs in Partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

There's no me without you

 by LaJuné McMillian is an interactive, multidisciplinary installation that explores the threshold between land and sea, and the body's return to its origins. Developed alongside the artist’s 2026 OceanX Education's artist residency, piloted in partnership with Pioneer Works, the exhibition transforms her research on phytoplankton, algal blooms, and bioluminescence into a spiritual, embodied encounter with oceanic systems. 

 project, portals are not fixed, but rather spaces where one state of being gives way to another. 

 follows Child, a recurring avatar in the artist’s work, through a first threshold crossing, where water is a metaphor for an early encounter with the spirit world. As Child dissolves into oceanic life, McMillian draws a thread between their own childhood experiences, vulnerability, and the foundational role of phytoplankton within marine ecosystems. Moving between scales, from microorganism to ocean and from atmosphere to cosmos, the installation reveals a world in constant transformation.

An interactive floor-to-ceiling video installation illustrates the body's movement in the ocean using different scales, from satellite imagery of algal blooms—dense overgrowths of microscopic algae—to 3D visualizations of individual phytoplankton. A sensor tracks visitors’ hand movements and changes the image in response. As two hands move closer to each other, the image contracts to reveal detailed views of individual phytoplankton drifting through luminous underwater environments. As hands spread apart, it expands from human-scale underwater environments to satellite views of algal blooms stretching across entire coastlines. These shifts in scale continue throughout the gallery. Bioluminescent dinoflagellates—single-celled marine plankton—appear in intimate holographic displays, while satellite imagery inspires the beaded embroidery framing a hanging scrim sculpture, the vastness of outer space translated into tactile, hand-stitched detail.

The exhibition simultaneously grapples with the history of scientific racism by engaging with the visual legacy of 19th-century German artist and biologist Ernst Haeckel, whose intricate illustrations of marine life helped shape the modern ecological imagination. Haeckel, who coined the term ecology, was also a proponent of eugenics, and by engaging with his work, McMillian considers how beauty, classification, and scientific racism have been entangled with systems of knowledge. Translating Haeckel’s iconic drawings of phytoplankton into three-dimensional models, McMillian places historical systems of classification in dialogue with contemporary scientific imaging and speculative digital forms to consider how inherited ways of seeing might be broken open and reimagined.

Visitors will also encounter a sonic landscape comprising voiceovers and prayers written by McMillian, which are woven into a score produced by multidisciplinary artists Lambkin and A Space For Sound (Rena Anakwe). For McMillian, prayer functions as a material and a structure within the work: a way of holding grief, transformation, ancestral memory, and the possibility of renewal. During her residency at EY Intelligent Realities Lab, the artist has also developed a virtual oracle that invites visitors into conversation with Child via an interactive chatbox, offering a space to reflect on transformation as well as humanity's relationship to the ocean.

 is the culmination of a collaboration between Pioneer Works and OceanX Education, a nonprofit working to unlock the ocean’s sustainable potential. As part of a yearlong program, McMillian boarded the OceanXplorer, an advanced deep-sea research and media vessel, for artistic and scientific research. 

 is a multidisciplinary artist, and educator who creates art that integrates performance, extended reality, and physical computing to question our contemporary forms of communication. They are passionate about discovering, learning, manifesting, and stewarding spaces for liberated Black Realities and the Black Imagination. McMillian has had the opportunity to show and speak about their work at National Sawdust, Tribeca Film Festival, Times Square, and the Guggenheim Museum. They were previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and Figure Skating to teach girls of color about movement and technology. McMillian has continued their research on Blackness, movement, and technology during residencies and fellowships at the Jerome Hill Artist Fellowship, Eyebeam, Pioneer Works, NYU ITP, Onassis ONX, NEW INC, and Barnard College.

 is a nonprofit working to unlock the ocean’s sustainable potential. Through a dual focus on science and education, OceanX Education is building a new paradigm where humanity and the ocean mutually thrive. Its approach is fueled by exploration, leveraging advanced research, multimedia educational programs, cross-sector partnerships, and advanced technology to help transform how people understand and value the ocean. Its work strives to fortify biodiversity and increase the sustainable use of ocean resources to help ensure the ocean remains a foundation for human wellbeing and potential. OceanX is a nonprofit operating program of Dalio Philanthropies.

is made possible by the OceanX Education x Pioneer Works Residency, funded by with support from Dalio Philanthropies. It is supported in part by the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, public funds from New York City Department of Cultural Affairs in Partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Child/ren of the Bloom

LaJuné McMillian: Child/ren of the Bloom

Alex Strada is a New York-based interdisciplinary artist. Her research-driven, socially engaged projects reimagine systems of power and create platforms for collectivity and civic transformation. Since 2022, she has served as Public Artist-in-Residence with NYC’s Department of Homeless Services and Department of Cultural Affairs. Recent solo exhibitions and commissions include Storefront for Art and Architecture, New York; Queens Museum, New York; Yerba Buena Center for the Arts, San Francisco; Project Row Houses, Houston; Aldrich Contemporary Art Museum, Connecticut; and Times Square Arts, New York. Select group exhibitions and screenings include Aurora Biennial, Dallas, Texas; Anthology Film Archives, Fashion Institute of Technology Art and Design Gallery, Museum of the Moving Image, Socrates Sculpture Park, and UnionDocs, all in New York; Fondazione Antonio Ratti, Italy; Centro Fotográfico Manuel Álvarez Bravo, Mexico; Listasafn Árnesinga Museum, Iceland; and MuseumsQuartier, Vienna. Strada’s projects have been featured in the 

Alex Strada

Jen DeLuna is a painter exploring moments of vulnerability that are confessed through figures and animals. She received her BFA from Carnegie Mellon University in 2021. Her most recent exhibitions include solo shows at Storage Gallery, New York, and Laisun Keane, Boston. She has been included in group exhibitions at Xxijrah Hii, London; The Hole, Los Angeles; IRL, New York, NY), and Storage Gallery at NADA Miami. Her work has been reviewed in publications such as 

Jen DeLuna

Julian Chehirian is a Philadelphia- and Sofia-based multimedia artist and PhD Candidate in the History of Science at Princeton. His installations tune objects and spaces to surface their latent histories. He represented the Bulgarian Pavilion at the 2024 Venice Art Biennale.

D. Graham Burnett is a New York City-based scholar, writer, and maker. A longstanding editor at 

 magazine, he teaches at Princeton and was recently a visiting artist at the Academy of Fine Arts, Helsinki.

This residency is organized in collaboration with the

Julian Chehirian & D. Graham Burnett

LaJuné McMillian is a multidisciplinary artist and educator creating art that integrates performance, extended reality, and physical computing to question our contemporary forms of communication. They are passionate about discovering, learning, manifesting, and stewarding spaces for liberated Black Realities and the Black Imagination. McMillian has had the opportunity to show and speak about their work at National Sawdust, Tribeca Film Festival, Times Square, and the Guggenheim Museum. They were previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and figure skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies and fellowships at the Jerome Hill Artist Fellowship, Eyebeam, Pioneer Works, NYU ITP, Onassis ONX, NEW INC, and Barnard College.

This residency is organized in partnership with 

 LaJuné McMillian

Nourished By Time is the musical project of Baltimore-born artist Marcus Brown, whose emotionally charged blend of post-punk, New Wave, R&B, electro-funk, and experimental indie pop reflects a deeply personal and sharply observational voice, as captured on his breakout releases 

 (2025). A Metamodernist, Brown crafts music that is as soulful as it is subversive—tackling themes of love, labor, existentialism, dreams, disillusionment, and hope. Initially created in Los Angeles in late 2019, Nourished By Time emerged as Brown's escape from the monotony of his day jobs, channeling his experiences into songwriting. Over time, he developed the dreamlike, uncanny sound that would come to define Nourished by Time.

Nourished By Time

Matt McCorkle is an Emmy-nominated digital artist and systems thinker working at the intersection of sound, immersive technology, ecology, and human experience. His current practice focuses on building large-scale XR and AI-driven storyworlds.

Matt McCorkle

Memo Akten and Katie Hofstadter are Southern California based interdisciplinary artists and researchers, whose work investigates the entanglements of technology, embodiment, consciousness, and culture. Merging backgrounds in dance, writing, poetry, drawing, sculpture, computer science, artificial intelligence, computational art, and public practice, they create speculative simulations, data dramatizations, immersive installations, and narrative experiments that probe the human condition in an age of artificial intelligence and accelerating transformation.

Together, their collaborative research and practice explore how emerging technologies—particularly AI and data systems—interact with the embodied, emotional, and ecological dimensions of human experience.

Memo Akten & Katie Hofstadter

Mickey Aloisio is an artist and educator originally from Long Island, NY, and currently based in Brooklyn, NY. He holds degrees from Suffolk County Community College, the Fashion Institute of Technology, and Yale University. His practice spans photography, sculpture, video, and installation, using analog processes and constructed display systems to explore counter-navigation, mediated forms of communication, and familial and social histories. Aloisio has received numerous awards and grants, including the FST StudioProjects Fund and Café Royal Cultural Foundation, and has participated in the Core Fellowship at the Museum of Fine Arts, Houston, the AIM program at the Bronx Museum, and residencies at Yaddo and Skowhegan. Exhibitions include solo shows at Marlborough Gallery, NY (2024) and Ptolemy Gallery, Queens, NY (forthcoming 2026).

Mickey Aloisio

Natalia Mejía Murillo is a visual artist exploring territory, trace, and time through correspondences between cartography and archaeology. She holds an MFA from Virginia Commonwealth University and an MA and BFA from the National University of Colombia.Recent exhibitions include Atlanta Contemporary, Atlanta, GA; Antioquia and Medellín Art Biennial, Medellin, Colombia; Carrillo Gil Museum, Mexico City; Fire Station, Doha; DDDD Gallery, The Print Center, and Revolver Galeria, all in New York; Architecture and Design Museum, Los Angeles; Casa de Velázquez, Madrid; and Kunstmuseum Reutlingen, Reutlingen, Germany. Mejía has received awards from the Folger Shakespeare Library, The Print Center, Kunstmuseum Reutlingen, and Colombia’s Ministry of Culture. She has held residencies at the John Michael Kohler Arts Center, Radio 28, MASS MoCA, Ellis-Beauregard Foundation, Fundació Miró Mallorca, and Strzemioski Academy, among others.

Natalia Mejía Murillo

Simon Benjamin is a Jamaican multi-disciplinary artist and filmmaker based in New York. His practice considers how the past ripples into the present in unexpected ways. Using the sea and coastal space as frameworks, his current body of work explores how lesser-known histories and colonial legacies impact on our present and contribute to an interconnected future.