To support Vivian Browne: My Kind of Protest, the first museum retrospective of Browne’s work, co-organized with the Contemporary Arts Center in Cincinnati. Drawing upon previously unknown works and archival material from the artist’s estate, this is the first exhibition to examine the ways in which Browne’s art and activism helped develop discourse associated with race, intersectional feminisms, and political art. The exhibition catalogue will include essays, research findings, and a reprint of Browne’s own artist statement.

To support The Sculpture of Emma Stebbins, an exhibition that will be the first to recognize Stebbins as one of the most significant American sculptors of the nineteenth century and includes nearly all of her 17 extant marble sculptures, many of which will be on public view for the first time in a century. The publication will feature essays exploring Stebbins’s neoclassical sculptures through the lenses of feminist art history, queer studies, ecocriticism, and critical race art history.

To support Carmen Lomas Garza: Picturing the Familiar, the first large-scale exhibition dedicated to the artist, activist, and educator since 2001. The exhibition offers a significantly revitalized review of Lomas Garza’s expansive career, traversing the artist’s work across a range of media including works on paper, installation, painting, and sculpture. The exhibition will be accompanied by a catalogue that features scholarly essays as well as a new chronology that demonstrates the network of artists working with and around Lomas Garza.

To support Tiffany Chung: indelible traces, the first comprehensive museum survey of the Vietnamese American artist. The exhibition is held at the museum on the campus of University of California, Santa Barbara, where the artist went to graduate school. The catalogue will be the first published scholarly monograph about Chung and her body of work

To support Delilah Montoya: Reclaiming Chicano Narratives through Art and Activism, a retrospective exhibition with over 100 works to be held in Albuquerque, where the artist went to school and is one of the cities in which she resides. As a photographer, printmaker, and installation artist, Montoya has made significant contributions to the field of Chicana art, with work that reflects the complex ethnic, racial, religious, and socio-economic heritage of New Mexico. The exhibition’s catalogue will feature art historical texts and interviews with the artist, past collaborators, and scholars.

To support Parallax: Reimagining the Canada-US Border, a collaboratively curated exhibition that presents the plural history of the demarcation of the western Canada-U.S. border along the 49th parallel. Parallax prompts audiences to reconsider the border as a visual invention, revealing how it was drawn through Indigenous lands by American and British officials, astronomers, and engineers in the nineteenth century. A legacy website will be the primary vehicle of post-exhibition research dissemination due to the accessible and expansive nature of its format.

To support History is Painted by the Victors (working title), an exhibition of Kent Monkman’s large-scale history paintings of peoples and territories that have directly shaped the Turtle Island (North America) of today, reinforcing his credo that “History Painting” is a relevant contemporary genre. This survey is Monkman’s first major exhibition in the United States (the exhibition is co-organized with Denver Art Museum) and his most significant and scholarly presentation in Canada. The exhibition will be accompanied by a cross-border collaborative catalogue featuring Indigenous and non-Indigenous voices from the United States and Canada.

To support Mavis Pusey: Mobile Images (working title), the artist’s first solo museum exhibition, co-organized with the Studio Museum in Harlem. The extensive survey of paintings, drawings, prints, and archival materials examines Pusey’s 50-year career trajectory from Retreat, Jamaica, to New York, London, and Paris. The exhibition will be accompanied by an extensive catalogue that provides the most comprehensive examination of the artist’s work to date.

To support Cara Romero: Panûpünüwügai (Living Light), the artist’s first major solo exhibition, that explores the narrative artistic practice of the Chemehuevi photographer. Spanning two decades of work and featuring more than 50 photographs—several of which will debut in the exhibition—the thematic examination of her images celebrates the multiplicity, beauty, and resilience of Native American and Indigenous experiences. The catalogue will feature essays by leading figures in the fields of Indigenous studies, art, and activism.

To support Black Photojournalism, the first comprehensive traveling exhibition considering the work of Black photojournalists active in the United States from the end of World War II, through the Civil Rights Movement of the 1950s and 1960s, to Jesse Jackson’s run for president in 1984. Co-organized with the Phillips Collection, the exhibition features images by some 40 Black photographers of such landmark events as the March on Washington and the assassination of Dr. Martin Luther King, Jr., as well as everyday occasions like birthdays, weddings, and funerals. A catalogue will offer new scholarship at the intersection of photography, Black visual culture, and American history.