NaDaizja Bolling is a citizen of the Wampanoag Tribe of Gay Head (Aquinnah) and serves as Executive Director of the Aquinnah Cultural Center. She comes from the Vanderhoop family of Aquinnah—a long line of educators, traditional artists, fishers, and leaders—and carries that legacy forward each day as a traditional dancer, weaver, regalia maker, Wôpanâak language learner and speaker, and community leader. Through her role at the Aquinnah Cultural Center, she helps shape how Wampanoag history and culture are preserved, interpreted, and shared with both tribal citizens and the broader public. Her approach integrates cultural artistry, land and water memory, organizational strategy, and deep relationship-building to support collective knowledge and brilliant Wampanoag futures.
Website: www.aquinnah.org 
IG:  @aquinnahcc 

Clementine Bordeaux is an enrolled member of the Sičáŋǧu Oyate (Rosebud Sioux Tribe) and grew up on the Pine Ridge Reservation (South Dakota). Clementine is an Assistant Professor of History of Art and Visual Culture at the University of California, Santa Cruz. Clementine is fortunate to work closely with Racing Magpie (Rapid City, South Dakota); this community-based art space serves Oceti Sakowin (Lakota/Dakota/Nakota) regional artists and culture bearers. As a community member, artist, and scholar, their goal is to work with and for Indigenous communities. 

Sháńdíín Brown is a curator, creative, and citizen of the Navajo Nation from Arizona. She is currently a PhD student in the History of Art at Yale University, where she focuses on multitemporal Native American art and fashion, with an emphasis on its connections to global Indigenous contemporary art, Indigenous feminism, and Indigenous futurism. She has curated exhibitions at the Hood Museum, Rhode Island School of Design (RISD) Museum, and most recently at the Hudson River Museum. Her writing has been published in First American Art Magazine and Hyperallergic.
Website: https://arthistory.yale.edu/people/shandiin-brown and https://linktr.ee/shandiinbrown 
IG: @ShandiinBrown and @T.Begay.Designs

Ryan Dennison is a queer Indigenous composer, performance artist, poet, and archivist from Tohatchi, NM. Dennison’s work defuses critical engaged consciousness and liberation technologies through Indigenous research, planning, design, education and healing. He comes from a background of experiential, pastoral and traditional ecological knowledge, which constructs a Diné epistemological framework and pedagogical orientation of traditional/western knowledge. He currently works and lives in Albuquerque, NM as an educator with Indigenous communities actively maintaining, renewing and revitalizing traditional knowledge linking food, culture, health and the environment.

Zach Feuer is the director of the Gochman Family Collection, a distinguished lending collection featuring artwork by Indigenous and American artists. A co-founder of both the New Art Dealers Alliance (NADA) and Forge Project, Feuer has played a pivotal role in supporting artists and workers in the cultural sector. He previously served as the director of the sculpture park at Art Omi and owned and operated several commercial galleries focusing on contemporary art by early and mid-career artists, including the eponymous Zach Feuer Gallery, from 2000 to 2015.
Website: gochmancollection.com

Jessica Fremland’s research analyzes the gendered forms of settler colonial carcerality enveloping Native women in boarding schools, activist spaces, and everyday geographies. Her research highlights the use of Indigenous relational aesthetic practices such as dance, sound, crafting, and letter-writing that Native women engage to refuse settler colonialism in all its disciplinary forms. Jessica draws especially on the fields of Black and Indigenous feminisms to not only document and map these moments of refusal through critical archival and ethnographic research, but to imagine and cultivate alternative possibilities in her own writing and performances of spoken word poetry. Jessica is a Postdoctoral Research Associate in American Studies at Brown.

Erin Genia, an enrolled member of the Sisseton-Wahpeton Oyate, is a multidisciplinary artist, educator and community organizer specializing in Native American and Indigenous arts and culture. Working across sculpture, fibers, sound, performance, digital media, writing, painting, printmaking, jewelry and ceramics, her work amplifies the powerful presence of Indigenous peoples in the arts, sciences and public realm. Genia's artistic practice merges Dakota cultural imperatives with pure expression and material exploration to invoke an evolution of thought, practice, and humanity that aligns with the cycles of the natural world.
Website: https://www.eringenia.studio/

Raquel Gutiérrez is a critic, essayist, poet, performer, and educator. Gutiérrez's first book Brown Neon (Coffee House Press) was named as one of the best books of 2022 by The New Yorker and listed in The Best Art Books of 2022 by Hyperallergic. They are a 2025 recipient of the United States Artist Fellowship and the Foundation for Contemporary Arts Fellowship in Poetry. Their first poetry collection, “Southwest Reconstruction,” is out late Fall 2025 on Noemi Press. They are faculty in the Creative Writing MFA program at the Institute for American Indian Arts (IAIA). Gutiérrez has lived on the unceded lands of the Tohono O’odham and Pascua Yaqui people since 2016.
Website: www.raquelgutierrez.net

Tess Lukey (Aquinnah Wampanoag) is the Associate Curator of Native American Art at the Trustees of Reservations, where she is based at Fruitlands Museum and deCordova Sculpture Park & Museum. Her curatorial practice centers on the intersection of historic and contemporary Native American art, with a focus on Indigenous-led interpretation and community-driven frameworks. She holds an MA in Art History with a minor in Museum Studies from the University of New Mexico and a dual BFA in Ceramics and Art History from MassArt. Lukey has contributed to exhibitions at the Museum of Fine Arts, Boston, and curated several shows at Fruitlands, including Across Boundaries Across Barriers and Place of Intersection: Survivance in the American West. She also serves as an independent curator for the 2025 Boston Public Art Triennial. As a practicing artist, Lukey continues her Wampanoag traditions in ceramics and basketry, reflecting her commitment to cultural continuity through both institutional and creative practice. 
IG: @tessie9244
 

Rachel Martin is a Tlingít artist based in Queens, NY. She is of the Tsaagweidei, Killer Whale Clan, of the Yellow Cedar House (Xaai Hit’) Eagle Moiety. She is an artist and the Gochman Family Collection’s Creative Director/Curator. Martin works primarily in work on paper, but also painting, sculpture, assemblage and murals. Her work explores generational forms of tradition, intersectional feminism, and Indigenous sovereignty through the use of humor and playfulness to ensure her ancestors’ stories are told from a multi-dimensional place. 
IG: @_rachelmartin_

A member of the White Mountain Apache tribe, Laura Ortman is a musician and composer who creates across multiple platforms, including albums, live performance, field recordings, and video works. As a soloist, Ortman performs on amplified and Apache violin, vocals, piano, electric guitar, and keyboard. In 2008, Ortman founded the Coast Orchestra, an all-Indigenous orchestral ensemble. She has also collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Okkyung Lee, and Jeffrey Gibson. She has performed and presented work nationally and internationally at The Museum of Modern Art, New York, NY (2021); the Whitney Museum of American Art, New York, NY (2019); the imagineNATIVE Film and Media Arts Festival, Toronto, Canada (2017, 2011); Musée d’Art Contemporain de Montréal, Montréal, Canada (2017); and the Centre Pompidou, Paris, France (2009). Ortman is the recipient of the United States Artists Fellowship (2022); a Jerome Foundation, Jerome at Camargo Residency (2020); the Native Arts & Cultures Foundation, National Artist Fellowship (2016); and a Robert Rauschenberg Foundation Residency (2014).
Bandcamp: https://thedustdiveflash.bandcamp.com/
 

Grace Rosario Perkins born in Santa Fe, NM, lives and works in Brooklyn. She is a self-taught Diné/Akimel O’odham painter interested in disassembling her personal narrative through layered words, objects, colors, and signs. Beginning with language and text as a set of intentions, these words become obscured over time through a process of addition and redaction. Through this process of layering, Perkins creates dense canvases composed of acrylic, spray paint, enamel, plant material, collected trash, and personal ephemera that transmutes hope, grief, and feeling to something more expansive and collective alluding to people, peoples, the past, and the present. As a queer indigenous woman, Perkins uses abstraction, materiality, and ritual to replace the didacticism native artists are often requested to provide from institutions and dominant culture. Her exhibitions often include collaborators through material such as drawings, photographs, references, and sharing space. 
IG: @gracerosarioo 
Website: https://www.gracerosarioperkins.com/

Asa Peters is an educator, artist, and researcher. He is a member of the Mashpee Wampanoag Tribe with descent and community connections in the Narragansett Indian Tribe. As a musician, he has specialties in saxophone, hip-hop production, and a deepening knowledge of Eastern social songs and dances from northeast Algonquin and Haudenosaunee traditions. Asa enjoys engaging in collaborative and creative projects with tribal communities in the northeast in the realms of history, archive development, dance and music, and plant relationships. He is trained in fields of Botany, Music and Technology (BA, Connecticut College), and Critical Ethnic and Community Studies (MS, UMass Boston). Asa currently works at the Native Land Conservancy as a Land and Cultural Knowledge Caretaker.

Joshua Rios is an educator, media artist, and writer whose projects deal with the histories, archives, and futurities of Latinx subjectivity and US/Mexico relations as understood through the intersections of modernity, postmodernity, and neocoloniality. Josh’s projects highlight moments of intercultural contact and co-belonging. Recent performances and projects have been featured at the Art Institute of Chicago, Andrea Meislin Gallery (NYC), and the Stony Island Arts Bank (Chicago). Recent writing includes the essay, "A Possible Future Return to the Past," published in Somatechnics through Edinburgh University Press. Upcoming projects include an exhibition at the Autonomous University of Mexico State featuring the archive of science fiction and cyberpunk writer Ernest Hogan, the group exhibition Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly at the Bemis Center for Contemporary Arts and a performance for the exhibition A Decolonial Atlas: Strategies in Contemporary Art of the Americas at Tufts University.
Website: http://joshrios.blogspot.com/

Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. His collaborative practice engages intercultural exchange and historical narratives in order to generate reparative counter-images and social transformation. Recent projects and performances have been featured at The Bemis Center for Contemporary Arts (Omaha), the Blue Star Contemporary (San Antonio), The Institute of Contemporary Art (Boston) and the Mountain Standard Time Performative Art Biennial (Calgary, Canada). Publications include The Social Practice That Is Race, co-authored with Dan S. Wang, and the exhibition catalogue Organize Your Own: The Politics and Poetics of Self-Determination Movements, of which he was the editor. He is a cofounder of the Latinx Artist Visibility Award, a national scholarship for Latinx artists produced in collaboration with artist J. Soto and OxBow School of Art. Romero was a Professor of the Practice at the School of The Museum of Fine Arts at Tufts University, a fellow at the Radcliffe Institute for Advanced Study at Harvard University, and is currently an Assistant Professor of Visual Arts at Dartmouth.

Thea Quiray Tagle is a transdisciplinary scholar, writer, and Associate Curator of The Bell / Brown Arts Institute. She is curator of ERIC-PAUL RIEGE: ojo|-|ólǫ́, along with Nina Bozicnik, Senior Curator of the Henry Art Gallery at the University of Washington. At The Bell / BAI, Thea has curated exhibitions, performances, and residencies with artists including Autumn Knight + SA Smythe (THEYFXRST), Barbara T. Smith, Jasmine Thomas-Girvan, Julie Tolentino, and Dorian Wood. 
IG: @teeqeetee 

Christina Young is an artist, curator, and researcher focusing on contemporary art history, technology, and curatorial practice. A second year M.A., Public Humanities student with a B.A. in Art Practice, Theory and History from UC Berkeley, she is interested in how relational thinking enables alternative art historical, aesthetic, and curatorial methodologies. She has worked in education and public programs for Headlands Center for the Arts, Yerba Buena Center for the Arts, and the Oakland Museum of California. A current exhibitions fellow for Brown Art Institute, Young curated the 2025 Cohen Gallery exhibition, the sun has its own drum.