I develop exhibitions as ecosystems: relationships among artists, objects, ideas, interpretation, place, and publics.
My projects begin with sustained attention to artistic practice and expand through writing, education, partnerships, performance, conversation, and spatial decisions that create multiple ways to enter and remain with the work.
Since 2012, I have curated exhibitions across nonprofit and commercial galleries, municipal and alternative spaces, outdoor sites, and the public realm. I adapt each exhibition to its context without sacrificing rigor. The goal is not simply to present work, but to create the conditions for sustained attention, exchange, and connection.
Process
Begin with people, place, and artistic practice
An exhibition may begin with an artist’s work, a question emerging from a community, or the conditions of a particular place. Through studio visits, research, observation, correspondence, and conversation, I identify where those perspectives meet and shape a framework responsive to both the work and its publics.
Listen and adapt
I develop exhibitions in dialogue with the people they are intended to serve. Surveys, informal conversations, program feedback, attendance patterns, and sustained local relationships help me understand what audiences are curious about, what makes them feel welcome, and where different forms of interpretation or access are needed.
Create multiple points of entry
Writing, publications, labels, spatial design, marketing, educational resources, public programs, and accessible digital metadata each serve different audiences. I develop these elements together so visitors can encounter the work through close looking, conversation, scholarship, participation, sensory experience, or independent exploration.
Broaden participation without displacing existing publics
Audience development should deepen relationships with the people already present while creating thoughtful invitations for others. I pair rigorous curatorial and scholarly interpretation with accessible programs and partnerships that connect exhibitions to schools, youth groups, local organizations, cultural communities, and people who may not already see art spaces as belonging to them.
Design for attention, access, and welcome
Seating, reading areas, circulation, interpretive layers, program formats, digital access, and communications all influence who can enter and remain with an exhibition. I approach these decisions as part of the curatorial work, creating experiences that accommodate different bodies, backgrounds, levels of familiarity, and ways of engaging.
Extend opportunity beyond the exhibition
I use exhibitions to create visible, paid, and developmental opportunities for artists and other cultural workers. This may include commissions, teaching, writing, fabrication, facilitation, public projects, or partnerships with businesses and municipalities—building relationships and professional pathways that can continue after the exhibition ends.
Select Exhibitions
What Are We Claiming
An exhibition bringing Black and Jewish family histories into dialogue through archives, objects, memory, and competing narratives of belonging.
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Material TimE
Five artists explored how materials carry evidence of environmental change through participatory, sensory, duration-based, and technology-driven work.
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Sculpture in the Glen III
More than 30 artists created site-responsive work in a private Glen in Gladwyne, engaging with its ecosystems.
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Dolls, Idols, and Ideals
Two artists explored how Black identity, spirituality, folklore, and cultural memory are inherited, transformed, and made across the African diaspora.
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BELONGING
Four LGBTQ+ artists explored how belonging is formed through memory, kinship, desire, inherited histories, chosen communities, and the search for home.
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Second Gen
An intergenerational exhibition asking what changes when children are treated not only as visitors to an art space, but as artists and participants within it.
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Curatorial infrastructure
20*20 House: A Civic Arts Program
At 20*20 House, I developed a small municipal arts space into a sustained curatorial and public-programming platform. Exhibitions were shaped through community input and extended through workshops, performances, participatory installations, family programming, and partnerships with local artists and cultural organizations.
Writing is central to my curatorial practice. Essays, catalogs, interpretive materials, interviews, and publication design allow an exhibition’s ideas to travel beyond the gallery and remain accessible after the installation has ended.
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