To support planning for the integration of Indigenous American art into the new American art galleries of the Virginia Museum of Fine Arts’s building expansion and renovation project, in consultation with members of the Nottoway, Pamunkey, Chickahominy, and other tribes within the Commonwealth of Virginia. 

To support long-term collection-based exhibitions at the Tacoma Art Museum under the direction of guest curators who incorporate a variety of contemporary voices and artists from Indigenous, Native American, Chinese American, Mexican, Black, and Arab communities to present a more accurate and diverse range of experiences and aesthetics and to reframe the idyllic depictions of people and places in the museum’s Haub Family Collection of Western American Art.

To support Stephanie Shih: LONG TIME NO SEE 好久不見, an exhibition derived from the Museums at Washington and Lee University’s first artist’s residency, bringing the long tradition of Chinese export porcelain in the West into dialogue with contemporary conversations about representation, diversity, and belonging in the arts through the presentation of Los Angeles–based artist Stephanie Shih’s 15 life-size photographic still life compositions with objects from the museums’ Reeves Collection of Ceramics created prior to the mid-1800s, with the intention of challenging preconceived notions about American fine and decorative arts and national identity. The exhibition is accompanied by a digital and printed exhibition guide and a scholarly catalogue. 

To support Jazz Age Illustration, a collection-based exhibition at the Delaware Art Museum that surveys the art of popular illustration in the United States between 1919 and 1942, a period marked by increased opportunities in illustration for women and artists of color. Its checklist, four years in the making, includes new acquisitions and other significant works by diverse artists containing themes that encourage conversations around race, gender, sexuality, popular art, representation, and opportunity in the arts. The exhibition is accompanied by a scholarly catalogue. 

To support the development, with Native American artists, community members, and academic specialists, of a reinstallation plan for the entirety of Crystal Bridges Museum of American Art’s current galleries in anticipation of the museum’s expansion (a 50% increase in size, to be completed in 2026), comprehensively rethinking the collection’s stories and thematic groupings as well as the museum’s overall visitor experience within the existing and new spaces with an emphasis on two growing collection areas: craft and Indigenous art. 

To support a thematic collection reinstallation of the First Peoples Gallery of the Royal Ontario Museum in collaboration with Indigenous curators, cultural leaders, and scholars, which  enrich public understanding of the historical and contemporary contributions made by Indigenous peoples across Canada. 

To support the collaborative development of new narratives and interpretive frameworks for Revolutionizing Icons: Reimagining the 18th-Century Art of the Americas Galleries at the Museum of Fine Arts, Boston, a reinstallation of the first floor of the Art of the Americas wing, which includes 11 galleries for the display of the museum’s collections of eighteenth-century art in a variety of media. 

To support the development of Whisper to a Scream: Women Artists and Minimalism, a collection-based exhibition at the Des Moines Art Center that features works by a multigenerational group of female-identifying artists that played a key role in establishing and evolving the aesthetic language of minimal abstraction. 

To support the Nora Eccles Harrison Museum of Art at Utah State University’s Intermountain: Cultural Identity, Assimilation, and Repatriation, a collection-based exhibition being shaped by the expertise of Dr. Farina King (a Navajo/Diné author of a book on Intermountain) that features eleven murals created by students who attended the Intermountain Inter-Tribal Indian School in Brigham City, Utah, one of the largest Native American boarding schools in the country, salvaged from the abandoned walls of the school before demolition. Texts are in English, Spanish, Diné, and potentially other Indigenous languages as recommended by the advisory committee and alumni of Intermountain. 

To support the development with community focus groups and an advisory committee of Latinx leaders of Time, Place, & Peoples in the Americas / Tiempo, Espacio, y Pueblos de las Américas (working title), the Walters Art Museum’s first permanent collection-based installation art of the ancient Americas, presenting artworks from North, Central, and South America as well as the Caribbean, spanning a timeline from 1500 BCE to the present (with a rotation of loans of contemporary works as a complementing those of the historic collection). 

To support the UC Berkeley Art Museum and Pacific Film Archive’s Routed West: African American Quilts in California After 1940, a collection-based exhibition that traces the flow, keeping, and flourishing of quilts in the context of the Second Great Migration and presents stories that interweave resilience, creativity, self-determination, and beauty in ways that not only define a distinctive period of African American quilt history but also illuminate the social ties that quilts sustained within Black life. The exhibition is accompanied by a scholarly catalogue.