Meghana Karnik

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	<title>Meghana Karnik</title>
	<link>https://storefrontpsychic.com</link>
	<description>Meghana Karnik</description>
	<pubDate>Wed, 17 Jun 2026 06:31:53 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://storefrontpsychic.com/Home</link>

		<pubDate>Mon, 10 Jun 2019 03:19:05 +0000</pubDate>

		<dc:creator>Meghana Karnik</dc:creator>

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Meghana Karnik is a New York-based curator, researcher, and writer — exploring paradoxes between art and social change, spirituality and economy, lived experience and institutional process. &#38;nbsp;&#38;nbsp;° &#38;nbsp; • . ¸ ☆ 


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		<title>・*  About</title>
				
		<link>https://storefrontpsychic.com/About</link>

		<pubDate>Thu, 05 May 2022 22:12:31 +0000</pubDate>

		<dc:creator>Meghana Karnik</dc:creator>

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・*&#38;nbsp; About &#38;nbsp; &#38;nbsp;

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At the De Appel Archive. Nichi Baratto, 2023. 

Meghana Karnik is a curator, researcher, and writer based in New York City. Her practice explores paradoxes between art and social change, spirituality and economy, lived experience and institutional process. She is currently Curator &#38;amp; Exhibitions Director at Flux Factory. Recent curatorial projects include Shared Grounds (2025) with Finnish Cultural Institute in New York and Hope is a discipline&#38;nbsp;(2023–).
Previously, she was Manager, Grants &#38;amp; Artist Initiatives at Art Matters Foundation (New York), where she helped design Artist2Artist, a regranting program that empowers artists; Associate Curator for FRONT International 2022 (Cleveland), where she researched Great Lakes regional artists and supported international commissions in the research phase; and Associate Director of EFA Project Space (New York), where she produced guest-curated exhibitions at the intersection of art and social justice and facilitated the SHIFT Residency for Arts Workers. She has also worked with Art21, The Drawing Center, Harlan Levey Projects, SPACES, Columbia University, and Cleveland Clinic Arts &#38;amp; Medicine Institute. 
She serves on the advisory board of Critical Practices, Inc. and was a curatorial adviser for The Immigrant Artist Biennial 2023.
An alumna of the de Appel Curatorial Programme 2023 (Amsterdam) and recipient of curatorial residencies and fellowships with LMCC (New York), ISCP (New York), The Luminary (St. Louis), and FSAS (Dublin), she holds an M.A. in Arts Administration from Columbia University, a B.A. in Political Science and Art History from Case Western Reserve University, and completed a BFA Exhibition &#38;amp; Thesis in Drawing through cross-registration with Cleveland Institute of Art.Full C.V. is available on request.

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		<title>Curatorial Projects</title>
				
		<link>https://storefrontpsychic.com/Curatorial-Projects-1</link>

		<pubDate>Thu, 05 May 2022 22:20:39 +0000</pubDate>

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Curatorial ProjectsGroup Exhibitions&#38;nbsp;
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Solo Exhibitions
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		<title>Group Exhibitions</title>
				
		<link>https://storefrontpsychic.com/Group-Exhibitions</link>

		<pubDate>Wed, 17 Jun 2026 06:31:53 +0000</pubDate>

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Group Exhibitions
SHARED GROUNDS (2025), Co-Curator


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Photography: Yann Chashanovski&#38;nbsp;

Informed by eco-feminist thought, SHARED GROUNDS speculated on placemaking via interspecies alliances and knowledge production, giving thought to the potential for neighborly relations, codes, and customs in a public realm defined by humans and nonhumans alike. The exhibition&#38;nbsp; sprouted from the complexity of thinking about public space in a city like New York, while considering Flux Factory’s new venue, Flux IV, a community space located at a mixed-use waterfront building at Hunter’s Point. The transformation of Hunter’s Point from former colonial village and wild forest area, to decommissioned shipyard, to Superfund site; and its most recent incarnation as an urban redevelopment with a lush, re-indigenized park,&#38;nbsp; served as the seeding point for each artist’s performance commission.
SHARED GROUNDS was co-presented by Flux Factory and Finnish Cultural Institute in New York, and was part of the pARTir initiative in 2025, funded by the EU – NextGenerationEU, with additional support from New York State Council on the Arts and The American-Scandinavian Foundation.

Co-Curator: Elina Suoyrjö (Finnish Cultural Institute in New York)
Artists:&#38;nbsp;Carmen Baltzar, Kastehelmi Korpijaakko, Jodie Lyn-Kee-Chow, Jemila MacEwan, Lotta Petronella
Graphic Design: Gonzalo Guerre/Secret Riso ClubZine by Secret Riso Club

Shared Grounds

PressCultbytes—Curators Reformulate The Social ContractA.E. Chapman&#38;nbsp;
Impulse Magazine: Face to Face (July 2025): Jodie Lyn-Kee ChowXuezhu Jenny Wang
Hope is a discipline (2024), LMCC Curatorial Fellowship


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Photography: Yann Chashanovski &#38;amp; Martin Seck

Hope is a discipline at LMCC Arts Center on Governors Island (New York) featured an ensemble of artists foregrounding memory and political inheritance, who work with collectively held archives—physical and intangible—from documentary record to oral history, ancestral memory to intergenerational learning. The exhibition inhabits the words of Mariame Kaba, who proposes that hope is something we do together, using the resources we already have. Transmitted through textile, installation, video, theater props, artist books and ephemera, we relay the question: how do we find, remember, and share in the struggles of ancestors?

Co-Curators: Eugene Hannah Park, Marina Christodoulidou, Billy Fowo
Artists: Adama Delphine Fawundu, Kyuri Jeon, Suneil Sanzgiri, Bread and Puppet Theater, Maggie WongCurators’ Audio Guide
Soundcloud&#38;nbsp;

Press“Art Spiel Picks—Governors Island in September 2024” Art Spiel

Hope is a discipline (2023), Co-Curator


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Photography: Nikola Lamburov

An exhibition inhabiting Mariame Kaba’s concept of “hope” as a project of communal labor. Taking Kaba’s words as a cue, Hope is a discipline at de Appel (Amsterdam)&#38;nbsp;brought together people who research the politics friendship or are stewarding solidarity initiatives in their communities. The exhibition took shape as a series of artist-organized gatherings, with the de Appel auditorium transformed into an expansive living room.
Co-Curators: Marina Chistodoulidou, Billy Fowo, Jean-Michel Mabruki Mussa, Eugene Hannah Park
Artists &#38;amp; Guests: Arts Collaboratory, Jihan El Tahri, Ola Hassanain, Ruth Wilson Gilmore,&#38;nbsp;other indias, Metro54, Sadia Shirazi &#38;amp; Constantina Zavitsanos, Tropical Tap Water, among others

Exhibition Text
Brochure (PDF)

Press“How to radicalise curatorial practices,” Metropolis M&#38;nbsp;


TITLE TBD (2020), Curator


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Photography: Yann Chashanovski

TITLE TBD at The Cleveland Institute of Art Reinberger Gallery (Cleveland) looked to artists and culture workers surviving a precarious arts ecosystem — viewing failure as a seed to reimagine artistic communities, from strategies of peer support to building a solidarity economy. The project is indebted to the pocket publication by Triple Candie,&#38;nbsp;Letters to a Young Artist, in which a recent art school graduate asks: “Is it possible to maintain one's integrity and freedom of thought and still participate in the art world?"&#38;nbsp;

Artists: ⚙️️Admin, Adult Kindergarten, Thomas Barger, Lukaza Branfman-Verissimo, GenderFail, Jeff Kasper, Ariane Loze, Natalia Nakazawa, Emily Mae Smith

Exhibition Text
TITLE TBD Website

Press
“Cleveland Institute of Art’s TITLE TBD show surveys artists’ survival strategies in an age of anxiety,”&#38;nbsp;Cleveland Plain Dealer

“Reinberger’s TITLE TBD takes on new meaning, post-COVID,” CAN Journal


The Doubtful Host (2019), Co-Curator

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Pauline Lavogez &#38;amp; Théo Médina,&#38;nbsp;De la douceur (performance), 2019.


What is it that curators seek to repair when they say that “hosting” and “care” is part of their practice? Can relationship modes exist that are non-transactional, that promote the autonomy of all parties, or anti-oppressive frameworks? The project opened&#38;nbsp;Penthouse Art Residency (Brussels) as a site to expand on these questions; a historic penthouse curatorial space that from 2014-2019, was both a guest of the hotel NH Brussels Bloom, and a host to a changing roster of international artists and curators. 
Co-Curator: Gatien Du Bois
Artists: Haunted Cerebral, Maja Ćiric, Ariane Loze, Niamh McCann,&#38;nbsp;Pauline Lavogez &#38;amp; Théo Médina

Notable Program
Reading Room #7: Guest-Host Relations&#38;nbsp;


Apparatus 2.0: Nespolehlivá knihovna / The Unreliable Library (2018), Co-Curator
 

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Taking place in the reconstructed library at Foundation and Center for Contemporary Art (Prague), Apparatus 2.0:&#38;nbsp;The Unreliable Library reflects on how we gather research and build knowledge about culture, and on the library as a space for slow processes of contemplation and discovery — by facilitating  long-distance collaborations between artists in New York and Prague. Some questions posed by participants are: What sense do we make of a decentralized, unsystematic, and unreliable library? Is art practice an apparatus to distract us from mortality? What does an Eastern-Western diary of the past look like? Is knowledge built (like a tower) or excavated (from a pit)? What is art the solution for? This exhibition expanded on Apparatus for a Utopian Image (2016) at EFA Project Space (New York).&#38;nbsp;

Co-Curators: Tereza Jindrová &#38;amp; Michelle Levy
Artists: Matěj Al-Ali, Keren Benbenisty, Tyler Coburn, David Court, Sean Fader, Kara Hearn, Zebadiah Keneally, Alena Kotzmannová, Tomáš Moravec, Freya Powell, Markéta Othová, Elisabeth Smolarz, Magda Stanová, Tomáš Svoboda, Dannielle Tegeder, Jiří Thýn

Exhibition Texts
Curatorial Statement (PDF)
Artist Project Statements (PDF)


Progeny! (2018), Assistant Curator


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Photography:&#38;nbsp;Sebastian Bach

Progeny! at EFA Project Space (New York)&#38;nbsp;took as its premise the bilateral relationships of influence, genetics, and interdependence within artistic families. Pairing a group of contemporary artists with their artist-parents, the exhibition questioned conventional ideas about creative inheritance. 
Co-Curators: David Levine, Prem Krishnamurthy, and Michelle Levy
Artists: Carlos Amorales &#38;amp; Carlos Aguirre, Julian Hoeber &#38;amp; Ditta Baron Hoeber, Liz Magic Laser &#38;amp; Wendy Osserman,&#38;nbsp;David Levine &#38;amp; Anne-Marie Levine,&#38;nbsp;Nandi Loaf &#38;amp; Jean Patrick Icart-Pierre,&#38;nbsp;Rosalind Nashashibi,&#38;nbsp;Jacolby Satterwhite &#38;amp; Patricia Satterwhite,&#38;nbsp;Daniel Terna &#38;amp; Fred Terna,&#38;nbsp;Hank Willis Thomas &#38;amp; Deborah Willis

Exhibition Text
Press Release (PDF)

Opening Performance
Wendy Osserman, After Not Letting Go, 2017 Video: Liz Magic Laser


</description>
		
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	<item>
		<title>Solo Exhibitions</title>
				
		<link>https://storefrontpsychic.com/Solo-Exhibitions</link>

		<pubDate>Sat, 13 Jun 2026 21:39:37 +0000</pubDate>

		<dc:creator>Meghana Karnik</dc:creator>

		<guid isPermaLink="true">https://storefrontpsychic.com/Solo-Exhibitions</guid>

		<description>
	
Solo Exhibitions
Tierra Mojada (Wet Land) (2025), Curator


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Photography: Faviola Lopez-Romani &#38;amp; Josh Bogotin

Tierra Mojada (Wet Land) at Flux IV (New York) features multidisciplinary artist Itala Aguilera’s eponymous video performance project, which explores modes of striptease in hand-made, degradable garments. The clothes, designed to dissolve or be ingested, become the centerpiece of the performances, documented in collaboration with filmmaker Joshua Bogatin. Using her background in textile design, the artist bends the popular genre of the striptease, combining the traditional ideas of beauty and seduction contained in historical clothing with experimental materials. Artist: Itala Aguilera

Exhibition Text
Press Release (PDF)Press“Eat Me: Itala Aguilera’s Tierra Mojada” IMPULSE Magazine


Maureen Catbagan: Alagaan ang Salaysáy (2025), Curator


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Photography: Yann Chashanovski

In&#38;nbsp;Maureen Catbagan: Alagaan ang Salaysáy (Take Care of the Story) at Flux IV (New York) artist Maureen Catbagan honors Filipino nurses in Queens, Brooklyn, and New York City. Drawing on the migration story sparked by the 1965 Immigration and Nationality Act and the 1970s nurse recruitment drives, Catbagan gathers oral histories from a community whose work has sustained the city’s healthcare system for decades. The words tita (aunt), ate (sister), and kuya (brother) recur—titles of care and respect that transcend bloodlines.Visitors are invited to listen and read these stories vocally, transforming each into what Catbagan calls “a living monument of care.” In doing so, the exhibition turns listening into an act of devotion, infusing nurses’ labor into cultural memory. Artist: Maureen Catbagan

Exhibition Text
Press Release (PDF)


Xyza Cruz Bacani: The Diaspora is Home&#38;nbsp;(2025), Curator


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Photography: Nick Papananias

Xyza Cruz Bacani: The Diaspora is Home at Flux IV (New York) presents photographs of the Asian American diaspora, from portraits in living rooms to scenes of community gatherings, food traditions, and religious practices. Installed within a living room environment, Bacani’s work evokes belonging and cultural continuity, transforming the gallery into a space of warmth, reflection, and collective memory.&#38;nbsp;Developed through visits to homes and close engagement with community members, Bacani’s works reflect an intimate process of trust and reciprocity. The accompanying living room installation mirrors the spaces in which the photographs were taken, creating a familiar and welcoming environment. By inviting visitors to gather, sit, and reflect, the installation transforms Flux IV into a site of hospitality and shared presence, underscoring the centrality of home within the diasporic experience. Artist: Xyza Cruz Bacani

Exhibition Text
Press Release (PDF)
Press“A photographer’s intimate look at immigrant lives” 
Queens Chronicle“Artist Xyza Cruz Bacani meditates on the meaning of ‘home’” The FilAm


Tamar Ettun: How To Trap A Demon (2022), Curator

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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/9ac7a5ba0ade80750057fb9883c966fb2921cfe4864040da9f9e12d672e079c2/Lilith-Book---LR--11.jpg" data-mid="249422767" border="0"  src="https://freight.cargo.site/w/1000/i/9ac7a5ba0ade80750057fb9883c966fb2921cfe4864040da9f9e12d672e079c2/Lilith-Book---LR--11.jpg" /&#62;


Photography: Yann Chashanovski

Tamar Ettun: How to Trap A Demon at SUNY Purchase Richard and Dolly Maass Gallery (Purchase), built on the Ettun’s research into the insidious side of empathy, trauma-healing modalities, and astrology as storytelling. The exhibition featured a large body of ceramics, textiles, and sculptures produced throughout the artist’s Windgate Residency at SUNY Purchase. Focusing on the artist’s retelling of Lilith mythology, the exhibition asked us to consider whose stories, memories, and experiences are occluded in the process of demonization.Artist: Tamar Ettun

Exhibition Text
Press Release (PDF)
Press
“Tamar Ettun Demonstrates How To Trap A Demon,”&#38;nbsp; Whitewall

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	</item>
		
		
	<item>
		<title>Institutional Roles</title>
				
		<link>https://storefrontpsychic.com/Institutional-Roles</link>

		<pubDate>Fri, 06 May 2022 06:58:19 +0000</pubDate>

		<dc:creator>Meghana Karnik</dc:creator>

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		<description>
	
Institutional RolesCV available on request.


🕙&#38;nbsp;Art Matters Foundation
Manager, Grants &#38;amp; Artist Intiatives (2021-2022)

Founded in 1985 in response to artistic censorship and the defunding of federal artist fellowships in the US, Art Matters supports artists and culture workers through unrestricted fellowships, given annually.

Notable Projects
2021 Artist2Artist Fellows
2022 Artist2Artist Fellows

Art Matters Presents: Artist2Artist Conversations

Press
“An Unconventional Grant That Lets Artists Pay&#38;nbsp;It Forward” by Elaine Velie for Hyperallergic


🕙 FRONT International 2022
Associate Curator&#38;nbsp;(2019-2020)

FRONT International: Cleveland Triennial for Contemporary Art was a free, public art exhibition that took place across Cleveland, Akron, and Oberlin, Ohio every three years.
Notable Programs
WHISPER SESSIONS: Moving Some Rocks
WHISPER SESSIONS: How do we protest if we can’t get out of bed?
WHISPER SESSIONS: Dear Artists #WFH
Press
“FRONT International reveals theme, title, and artistic team for 2021 edition,” Artforum


🕙 EFA Project Space
Associate Program Director (2014-2019)


A collaborative, cross-disciplinary arts venue producing guest curated exhibitions, artist projects, and the SHIFT Residency for Arts Workers.

ExhibitionsTemporary Island (2019)&#38;nbsp;
In The Presence of Absence (2019)&#38;nbsp;
Endless Edition Biennial: Optimism (2018)&#38;nbsp;
As Far As The Heart Can See (2018)&#38;nbsp;
Apparatus 2.0: The Unreliable Library (2018)&#38;nbsp;Seven Senses (2018)&#38;nbsp;#callresponse (2018)&#38;nbsp;Omega Workshop: An Experiment in Counter-Fashion (2018)&#38;nbsp;Progeny!&#38;nbsp;(2017)&#38;nbsp;Near &#38;amp; Dear (2017)&#38;nbsp;
Past Live (2017)&#38;nbsp;Sick Time, Sleepy Time, Crip Time (2016)&#38;nbsp;Once More, With Feeling (2016)&#38;nbsp;Apparatus for a Utopian Image (2016)&#38;nbsp;No Atlas (2016)&#38;nbsp;A Certain Urge (Towards Turmoil) (2015)&#38;nbsp;The Let Down Reflex (2015)&#38;nbsp;Accompaniment (2015)&#38;nbsp;
Writing Bodies (2015)&#38;nbsp;
A Wicked Problem (2014)&#38;nbsp;

</description>
		
	</item>
		
		
	<item>
		<title>Writing, Editing, &#38; Publishing ☿</title>
				
		<link>https://storefrontpsychic.com/Writing-Editing-Publishing</link>

		<pubDate>Thu, 05 May 2022 22:22:00 +0000</pubDate>

		<dc:creator>Meghana Karnik</dc:creator>

		<guid isPermaLink="true">https://storefrontpsychic.com/Writing-Editing-Publishing</guid>

		<description>
	
Writing, Editing, &#38;amp; Publishing&#38;nbsp;☿

&#60;img width="480" height="688" width_o="480" height_o="688" data-src="https://freight.cargo.site/t/original/i/d717922f88423f587b3da86bea400c9c4c4b9ddeb03a3020593008d9b34c1043/nocturnalities-web-01-480x688.jpg" data-mid="226502418" border="0"  src="https://freight.cargo.site/w/480/i/d717922f88423f587b3da86bea400c9c4c4b9ddeb03a3020593008d9b34c1043/nocturnalities-web-01-480x688.jpg" /&#62;
&#60;img width="480" height="682" width_o="480" height_o="682" data-src="https://freight.cargo.site/t/original/i/0a5e31eb8ec448adaf029dba108ef06acfa2db5805dccaf3b530887025ac0fe9/NocturnalitiesScanlowres2-480x682.jpg" data-mid="226502417" border="0"  src="https://freight.cargo.site/w/480/i/0a5e31eb8ec448adaf029dba108ef06acfa2db5805dccaf3b530887025ac0fe9/NocturnalitiesScanlowres2-480x682.jpg" /&#62;


“Other indias blooms at night.” Contributor on Nocturnalities: Bargaining Beyond Rest (2025). Book edited by Andrea Knezović and Agata Bar. Design: Miquel Hervás Gomez.&#38;nbsp;

&#60;img width="2658" height="3322" width_o="2658" height_o="3322" data-src="https://freight.cargo.site/t/original/i/6043a763778866ec163ef987ef723af88dee804360cc5b24e97eecde09c70e4f/web.jpg" data-mid="226502937" border="0"  src="https://freight.cargo.site/w/1000/i/6043a763778866ec163ef987ef723af88dee804360cc5b24e97eecde09c70e4f/web.jpg" /&#62;
&#60;img width="3144" height="3930" width_o="3144" height_o="3930" data-src="https://freight.cargo.site/t/original/i/7beec82a0e4fb5db89732c19aa0463d8ef5870eb4f5210c57737244aee1db916/web-4.jpg" data-mid="226502940" border="0"  src="https://freight.cargo.site/w/1000/i/7beec82a0e4fb5db89732c19aa0463d8ef5870eb4f5210c57737244aee1db916/web-4.jpg" /&#62;
&#60;img width="2676" height="3125" width_o="2676" height_o="3125" data-src="https://freight.cargo.site/t/original/i/e38882a96f679ab3cf042a90ea57212511b3648dd0bf16230900c2cef90abdff/web-2.jpg" data-mid="226502938" border="0"  src="https://freight.cargo.site/w/1000/i/e38882a96f679ab3cf042a90ea57212511b3648dd0bf16230900c2cef90abdff/web-2.jpg" /&#62;

Hope is a discipline (2024). Vinyl record edited by Marina Christodoulidou, Billy Fowo, Eugene Hannah Park, and Meghana Karnik. Sound design: Emiddio Vasquez. Graphic design: Bardhi Haliti &#38;amp; Zuzana Kostelanská.


&#60;img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/56e168832ffec1c1a937fcfa6b7d1d7200a6cde4d626dcb67251ddbcb03517b6/1.-Playing-football-outside-of-Sharjah-Art-Foundation.-Eugene-Hannah-Park.jpeg" data-mid="205247907" border="0"  src="https://freight.cargo.site/w/1000/i/56e168832ffec1c1a937fcfa6b7d1d7200a6cde4d626dcb67251ddbcb03517b6/1.-Playing-football-outside-of-Sharjah-Art-Foundation.-Eugene-Hannah-Park.jpeg" /&#62;

“Thinking History and Trans-Temporally: A Conversation on the Sharjah Biennial,”Arts Journal Open (2023). Roundtable interview with Marìa Magdalena Campos-Pons, co-authored with de Appel CP 2023. Photo: Eugene Hannah Park.


&#60;img width="1440" height="1077" width_o="1440" height_o="1077" data-src="https://freight.cargo.site/t/original/i/d2555389be73815e409cd251f0058eaa0be44d2a15423c3df24452664d7cf24c/Manthia-Diawara--Edouard-Glissant-One-World-in-Relation--Ka-Yelema-Productions--2009--48-min.--film-still.jpg" data-mid="205248173" border="0"  src="https://freight.cargo.site/w/1000/i/d2555389be73815e409cd251f0058eaa0be44d2a15423c3df24452664d7cf24c/Manthia-Diawara--Edouard-Glissant-One-World-in-Relation--Ka-Yelema-Productions--2009--48-min.--film-still.jpg" /&#62;

“Sull’acqua / By Water,”&#38;nbsp;Dutch Art Institute (2023). Curatorial essay for Island Thinking / L'isola che pensa Film Festival.&#38;nbsp;Film still:&#38;nbsp;Manthia Diawara, Édouard Glissant: One World in Relation, 2009.


&#60;img width="6791" height="4532" width_o="6791" height_o="4532" data-src="https://freight.cargo.site/t/original/i/1e72885a650459cb6105c147a8626349874db7e32f9cca22dd857c7d36d97102/Ragini_Bhow-039.jpg" data-mid="205247670" border="0"  src="https://freight.cargo.site/w/1000/i/1e72885a650459cb6105c147a8626349874db7e32f9cca22dd857c7d36d97102/Ragini_Bhow-039.jpg" /&#62;

“Ragini Bhow: 444,”&#38;nbsp;Tiger Strikes Asteroid New York (2023). Exhibition essay for artist’s solo exhibition. Photo: Daniel Johnson.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/58cdf694a2e8a7c100d18390f66ea8edbc5b2895616c6812eda709dd65ad78e4/Lilith-Book---LR--5.jpg" data-mid="205247640" border="0"  src="https://freight.cargo.site/w/1000/i/58cdf694a2e8a7c100d18390f66ea8edbc5b2895616c6812eda709dd65ad78e4/Lilith-Book---LR--5.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/d2cfac8fd0505fd43ef7e90bbb8b2f80ad5e2a402db66224399b65403c2a1865/Lilith-Book---LR--3.jpg" data-mid="205247639" border="0"  src="https://freight.cargo.site/w/1000/i/d2cfac8fd0505fd43ef7e90bbb8b2f80ad5e2a402db66224399b65403c2a1865/Lilith-Book---LR--3.jpg" /&#62;

Tamar Ettun: Texts From Lilit (2022). Created by Tamar Ettun for the exhibition, Tamar Ettun: How To Trap A Demon (2022) presented by Richard and Dolly Maass Gallery. Editor &#38;amp; Contributor: Meghana Karnik. Design: Nicoline Franziska. Photos: Yann Chashanovski.

Curatorial Essay:&#38;nbsp;“Lilit, Our Invisible Friend.”&#38;nbsp;


&#60;img width="958" height="654" width_o="958" height_o="654" data-src="https://freight.cargo.site/t/original/i/b29dad4e3c557dbf29bf9fe3a90d15af21b05a1cdd2c2da3fcd9cc146c9e4e7a/Money-2.png" data-mid="205250340" border="0"  src="https://freight.cargo.site/w/958/i/b29dad4e3c557dbf29bf9fe3a90d15af21b05a1cdd2c2da3fcd9cc146c9e4e7a/Money-2.png" /&#62;

“MONEY METAPHYSIC$,”&#38;nbsp;Cue Art Foundation (2022). Catalogue essay for Money Has No Smell, curated by ACOMPI. Supported by CUE Foundation’s Art Critic Mentorship Program. Photo: Ignacio Gatica.


&#60;img width="4500" height="3600" width_o="4500" height_o="3600" data-src="https://freight.cargo.site/t/original/i/e8752dde7692b2c33d5819a26a9e043a450cc9f39d12aa2088c70644a51a1828/Imagine-Otherwise.jpg" data-mid="205250889" border="0"  src="https://freight.cargo.site/w/1000/i/e8752dde7692b2c33d5819a26a9e043a450cc9f39d12aa2088c70644a51a1828/Imagine-Otherwise.jpg" /&#62;

“‘Imagine Otherwise’ Shifts the Paradigm of Black Representation,”&#38;nbsp;Frieze (2021). Online review edited by Terrence Trouillot and written with Claire Voon. Photo:&#38;nbsp;Amber N. Ford, Strands, Tracks &#38;amp; Naps, 2021. Field Studio.


&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d7752da3663955610c5a61ec66e91e702955fb7f14ac78988424a2eaab39eed9/Temporary-Island.jpeg" data-mid="205247675" border="0"  src="https://freight.cargo.site/w/1000/i/d7752da3663955610c5a61ec66e91e702955fb7f14ac78988424a2eaab39eed9/Temporary-Island.jpeg" /&#62;


“Foreword,” Temporary Island,” EFA Project Space (2019). Risographed color publication edited by Dylan Gauthier and designed by Partner &#38;amp; Partners. Photo: Matt Vicari.


&#60;img width="1429" height="2048" width_o="1429" height_o="2048" data-src="https://freight.cargo.site/t/original/i/4847638c4df3c60184a27084b721de71641e5ca0df8a7f917e702a1f308a6515/Writing-Bodies.jpg" data-mid="205251324" border="0"  src="https://freight.cargo.site/w/1000/i/4847638c4df3c60184a27084b721de71641e5ca0df8a7f917e702a1f308a6515/Writing-Bodies.jpg" /&#62;

“No citations, no references,” Writing Bodies, (2018). Book edited by Litia Perta and designed by Shauna Steinbach. Image: Litia Perta.


&#60;img width="640" height="900" width_o="640" height_o="900" data-src="https://freight.cargo.site/t/original/i/41c0f59af61e8a82aa5c65a10cae9a02939781dbb105bd7a6861f1c3198bd1f9/wicked.gif" data-mid="205247676" border="0"  src="https://freight.cargo.site/w/640/i/41c0f59af61e8a82aa5c65a10cae9a02939781dbb105bd7a6861f1c3198bd1f9/wicked.gif" /&#62;

“Introduction,” A Wicked Problem,&#38;nbsp;EFA Project Space (2014). Broadsheet edited by Claire Barliant. Image: Kloepfer-Ramsey-Kwon.


&#60;img width="1160" height="868" width_o="1160" height_o="868" data-src="https://freight.cargo.site/t/original/i/748787730eef243045b06f3ab5a216b861f05629daf15a2719d386ac3d86e640/Bluberg.png" data-mid="205253522" border="0"  src="https://freight.cargo.site/w/1000/i/748787730eef243045b06f3ab5a216b861f05629daf15a2719d386ac3d86e640/Bluberg.png" /&#62;

“A Hospital's Contemporary Art Collection: Effects on Patient Mood, Stress, Comfort, and Expectations,”&#38;nbsp;Health Environments Research &#38;amp; Design Journal (2014). Peer-reviewed study written with Bellamy Printz &#38;amp; Jennifer Finkel for Cleveland Clinic Art Program. Image:&#38;nbsp;Iñigo Manglano-Ovalle's BlueBerg (r11i01) on Main Campus,&#38;nbsp;2007.

&#38;nbsp; &#38;nbsp; &#38;nbsp; RELATED&#38;nbsp;PRESS

“The Healing Power of Art: Can Hospital Collections Help?” NBC News“More Hospitals Are Using the Healing Power of Public Art” The Wall Street Journal
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