Drawing from a lifetime of complex entanglements with the physical and emotional legacies of the Vietnam War, Pipo Nguyen-duy’s photography is influenced by traditional landscape painting and theatrical composition.

Imane Djamil’s multidisciplinary practice examines the transformation of space by humans. Engaging viewers in photojournalistic projects imbued with the style of docudramas, her works straddle the realistic and phantasmagoric.

Through oral documentation, multidisciplinary collaboration and wordplay, Mounira Al Solh bears witness to the impact of conflict and displacement across the region.

Tracey Moffatt’s visual style draws attention to the fractures lurking beneath societal facades and the violent, enduring legacy of Australian colonialism.

Shaped by the experience of coming of age during the post-independence Angolan Civil War, Kiluanji Kia Henda reflects on the ruptures of colonial rule and conflict while framing Angolan identity within broader global historical narratives.

Rushdi Anwar draws from his personal experience as a Kurdish refugee and survivor of state violence to contemplate issues of displacement and trauma
endured as a result of colonial and ideological regimes.

Hyesoo Park’s work takes inspiration from the social landscape of everyday life—overheard conversations, daily routines and common problems—offering insight into the psychological issues we face in a fiercely competitive society.

Mary Sibande engages counter- historical narratives and the language of dress to animate the stories of South African women and critique western imperialist depictions of their lives.

Ibrahim Mahama's large-scale installations surface narratives of capitalism, global trade, crisis and injustice in materials reclaimed from the built environment of his native Ghana.

Jawad Al Malhi’s multidisciplinary practice reflects upon the Palestinian social fabric, illuminating cyclical human movements and daily routines in East Jerusalem.

Carolina Caycedo's multidisciplinary artistic practice draws from Indigenous epistemologies in her research examining the future of shared resources.

At the intersection of art and activism, Meleanna Meyer’s practice draws from Hawaiian history, cultural anthropology, Indigenous linguistics, architecture and set design.

Tahila Mintz engages with ancestral systems of matriarchy, gender equality and contemporary issues impacting Indigenous societies.

Manthia Diawara’s capacious scholarly and creative practice grapples with the politics of postcolonialism, decolonisation, migration and globalisation.

An Anmatyerre elder and lifelong custodian of women’s ‘dreaming’ sites in her clan country of Alhalkere, Emily Kame Kngwarreye (1910–1996) developed an abstract visual language centred around ancestral spirits and Australian Aboriginal cosmology.

Through his experimentation with the moving image, John Akomfrah delves into themes of memory, identity, postcolonialism, temporality and the politics of aesthetics.

Gabriela Golder examines the intersection between labour and memory from a wide variety of sources— political, mythical and medical—to highlight the aftereffect of violent state actions.

In mandla’s work, identity-based struggles emerge from the artist’s attempts to reconcile different forms of exclusion, both within the artist’s family and adoptive environment.

Kimathi Donkor reimagines mythic, historical and everyday encounters across Africa and its global diasporas, addressing the erasure of Black subjectivity and Black historical figures from western canonical art history.

Ángela Ponce’s photography grapples with social issues, political conflicts, disability rights and collective memory in the Latin American context.

An Indigenous artist and member of the Lac Seul First Nation, Rebecca Belmore’s art focuses on land use, resource allocation, climate change and displacement.

Destiny Deacon is a multidisciplinary Indigenous artist descended from the KuKu Yalanji and Erub/Mer peoples of Far North Queensland and the Torres Strait Islands respectively.

Queenie McKenzie (1915–1998) depicted the Aboriginal experience through bold autobiographical canvases that offer insight into life on the remote cattle stations of the East Kimberley region in early twentieth-century Australia.

Theaster Gates is a visual artist, archivist, curator and musician whose practice explores Black identity and history through material investigations into labour, spirituality, vacancy and spatiality.

Anju Dodiya’s visual language encompasses references spanning the cross-cultural history of painting, from Indian miniatures to French medieval tapestries, alongside elements of autobiography, allegory and mythology.

Driven by the collisions and interactions arising from colonialism, artist and scholar Brook Andrew combats historical amnesia and questions the limitations of power structures in institutional spaces.

Barbara Walker’s figurative art practice interrogates past and contemporary manifestations of issues at the intersection of racial identity, belonging, class, power and body politics.

Mame-Diarra Niang’s photographic work abstracts, fragments and decontextualises landscapes and portraits relating to her ancestral roots and Senegalese- Ivorian-French upbringing. Niang’s interrelated photographic series dwell on memory, selfhood and race.

Saodat Ismailova is a filmmaker and artist whose upbringing in post- Soviet Uzbekistan and engagement with the region continue to drive her practice. Ismailova’s filmography addresses themes of national memory, women’s sovereignty, ritualism and mortality.

Reena Saini Kallat’s practice examines ongoing civilisational affinities of language, culture, trade and technology that transcend the superficial divisions of nation-state boundaries.

Waheeda Malullah’s practice examines the socialised norms of Bahraini society and the wider Arabian Gulf through a playful,
performative lens.

Yulia Grigoryants uses photography to document the harsh reality of displacement, unrest and extreme poverty in conflict zones and border regions, especially as experienced
by ethnic minorities.

Prajakta Potnis examines the imprint of social, economic and political systems on the body and psyche of the individual.

Monira Al Qadiri uses myth-making and fantasy to excavate dormant alternative worlds and potential futures.

Tania El Khoury is a live performance artist whose works engage the audience in close encounters with narratives drawn from the political realities of migration, displacement and state violence.

New Red Order engages with a network of collaborators to produce video, performance and installation works that challenge contemporary colonial strategies and examine obstacles to Indigenous growth.

Yinka Shonibare’s practice is situated in conversation with the growing activism around the decolonisation of public spaces
and the reorientation of historical education

Working with drawing that is transformed by text, installation, photography or video, Ali Eyal’s practice examines feelings of absence and dissonance in response to armed conflict.

Lubaina Himid’s artistic and curatorial practice illuminates the omissions and hypocrisies of western colonial histories, centring the contributions of marginalised figures, particularly Black individuals, to cultural life in Europe.

Collecting and repurposing found objects, Nari Ward grapples with social and political issues surrounding race, poverty and consumer culture via metaphor and juxtaposition.

Drawing from the visual languages of Pop and conceptual art, Iftikhar Dadi and Elizabeth Dadi’s multidisciplinary work emerges from inquiries into urban vernacular creativity and the role of popular media in shaping notions of borders and identity.

Nil Yalter’s works offer a compelling feminist viewpoint on the socioeconomic conditions that affect migratory populations and female labourers.

David Hammons interrogates the political and social landscape
of the United States through its material remnants.

For over four decades, Fathi Afifi’s practice has been equally concerned with both human and
machine, as well as their synergistic lockstep.

Heri Dono’s paintings and installations merge imagination and Indonesian folk traditions with politics and modern art.

Saddam Al Jumaily’s surreal compositions operate as metaphors of anxiety, loss and suffering, underscoring the ways in which
the chaos of war in his native Iraq has destabilised time, meaning and belonging.

Mona Hatoum strips themes of conflict, exile, barriers and state control from the purely conceptual realm, presenting them instead in their manifestations as lived experiences.

Nina Fischer and Maroan el Sani investigate collective memory and perceptions of social and political turmoil through the lens of transitory public spaces and the built environment.

Bahar Behbahani’s research-based practice interweaves archival materials, cartography, horticultural history and contemporary context to critique imperial structures of knowledge and power.

Hassan Hajjaj’s visual compositions are a constant evocation of his multicultural upbringing and the relationships he has developed through traversing cultural backgrounds.

Pushpakanthan Pakkiyarajah’s paintings and video installations reflect on the painful and frequently suppressed legacies of Sri Lanka’s lengthy civil war.

Kahurangiariki Smith’s art addresses the history of colonisation, the reclamation of Indigenous knowledge and the present-day, lived consequences of historical events in New Zealand.

Hanni Kamaly’s multidisciplinary, research-driven practice examines material culture, historiography, collective memory, colonial power structures and the bounds of subjectivity to consider questions of memory and commemoration, embodied narratives, attention and agency.

Philippe Parreno creates singular, multisensory viewer experiences characterised by their unique spatiotemporal dynamics, allowing for open-ended, highly participatory explorations.

Thenjiwe Niki Nkosi’s multimedia and performance practice investigates power structures and imagines possible alternatives.

Umar Rashid, also known as Frohawk Two Feathers, is a multidisciplinary artist and the dedicated historian and
cosmographer of his own fictional universe, the Frenglish Empire (1648–1880).

Maharani Mancanagara unravels the complex cultural and sociopolitical history of her homeland, Indonesia, breathing new life into stories that fall outside the realm of popular documented history.

Flavia Gandolfo’s work investigates how the visual conventions and material cultures of nationalism institutionalise state identities.

Hajra Waheed’s multidisciplinary practice explores issues including the relationship between surveillance and the networks of power that structure human lives, while also addressing the alienation of displaced subjects affected by legacies of colonial and state violence.

Kader Attia’s poetic installations and sculptural assemblages investigate the far-reaching emotional implications of western cultural hegemony and colonial systems of power for non-western subjectivities, focusing particularly on collective trauma and notions of repair.

Natalie Ball investigates histories of Native American symbolism in dialogue with contemporary Indigenous iconography to propose alternative definitions of Native life.

Mithu Sen unpacks and interrogates systems of social exchange, modes of self-representation and notions of the taboo through close readings and manipulations of language and the body.

With an idiosyncratic sensibility informed by Afrofuturism and inflected by humour, Kambui Olujimi mines the collective psyche as a source of social and political commentary.

Presenting history as a collection of overlapping fragments, Nusra Latif Qureshi constructs new narratives from complex stereotypes.

Khadija Saye (1992–2017) explored notions of traditional African spirituality and ritual as embodied practices to overcome trauma
and despair.

Brenda Fajardo is a painter, printmaker, community organiser and art educator whose practice began to take shape in the midst of the Marcos dictatorship, an era in which critics of the Filipino regime were consigned to detention, torture or disappearance.

Writer and filmmaker Maya Cozier draws from her experience as a dancer and choreographer to create works that focus on West African and Caribbean history and culture.

An elder of the Wangkajunga people and respected custodian of its women’s law, Eubena Nampitjin (1921–2013) utilised her knowledge of Aboriginal ceremonies to produce large-scale canvases that reflect the strength of her Aboriginal culture and community.

Smita Sharma’s photojournalistic work centres the traumatised and forgotten voices of those subjected to human rights abuses.

Often through collaborative projects, Elia Nurvista reflects on concepts within food discourse related to globalisation, material extraction, exploitation and exotification.

Marisol Mendez’s work journeys into ancestral and collective histories of colonialism, racism and traditionalism—all of which shaped her experience of growing up in Cochabamba, Bolivia.

Marianne Fahmy’s films explore the relationship between natural phenomena and human habitation and its role in structuring reality and the invention of the future.

With ecological research at the centre of her intersecting artistic interests, Naiza Khan considers the ways in which geography materialises power and facilitates the collective remembrance of colonial histories.

Asma Belhamar explores the phenomenon of the megastructure in the Emirates and its impact on the topographical memory of local landscapes through installation, experimental print, video and 3D modelling.

Maria Magdalena Campos-
Pons’ practice interweaves autobiographical elements of her Afro-Cuban heritage with historical narratives of the African diaspora.

Marwah AlMugait uses visual, technological and performative elements to explore humanity’s connection to the natural world, issues of migration and displacement as well as the mechanics and ambiguities of
human interaction.

Interweaving African traditions, historical references, layered symbolism, fashion, ecology and science fiction, Wangechi Mutu situates her practice at a crossroads between Afrofuturism and feminism.

Nabil El Makhloufi grapples with themes of self-authorship,
alienation, nostalgia and the cultural plurality of migration.

Felix Shumba’s multidisciplinary practice interprets sociopolitical issues such as dislocation and migration through the use of existing imagery culled from archival and media sources.

Adam Khalil is a filmmaker artist and Ojibway tribal member whose work amplifies Indigenous artist voices. Bayley Sweitzer is a filmmaker whose lens-based practice seeks to advance radical political futures. Oba is a multidisciplinary artist, musician and actor.

Cao Fei’s practice examines how technological advancements intersect with popular culture and urban transformation in contemporary China.

Fathi Hassan explores the colonial erasure of ancient languages and oral histories as well as the ambivalence and fallibility of semiotic meaning.

Ali Cherri’s sculptures, drawings and installations unravel complex narratives of environment, archaeology and heritage in West Asia and the broader region.

patricia kaersenhout is an artist and activist who examines hidden and forgotten stories, delving into ignored histories of the African diaspora and its movements around the globe.

In her bodies of work, Sangeeta Sandrasegar constructs a continuous narrative centred upon the relationships of migrant communities to their homelands.

Isaac Julien’s practice often examines the politics of masculinity, class and race as well as deconstructs and reclaims Black histories.

Omar Badsha’s work focuses on themes of identity, alienation and politics as associated with diverse histories of South Africa, specifically those overlooked by the western artistic canon.

Raheleh Filsoofi’s practice addresses the customs that mediate everyday experiences through research, education, community- centred work and performance.

French-Colombian visual artist and filmmaker Laura Huertas Millán’s works reflect the complex realities and ecologies produced by colonial relations in Abya Yala.

Combining autoethnographic methodologies with archival portraits, Inuuteq Storch’s photographic practice bridges personal and universal visions of Greenland.

Centred around notions of crossings, transmissions and reversibility, Ayoung Kim’s practice builds complex, nonlinear narratives
of modern Korean history using characters that experience the transnational push and pull of technological advancement.

Obaid Suroor’s mixed media practice draws from natural landscapes and traditional architecture of the Emirates.

Annalee Davis is a Barbadian visual artist whose practice combines history and biography in her discussions of ‘post-plantation economies’.

Steve McQueen is an artist and filmmaker whose practice explores the tactility and corporeality of the moving image, impressing upon his audiences a more acute awareness of their bodies in relation to physical space.

The artistic output of Semsar Siahaan (1952–2005) showcases his deep engagement with Indonesia’s history and political legacies, his keen eye for social commentary and his front-line experience during a time of great national unrest.

Dala Nasser’s multimedia practice examines human and non-human entanglements within a perpetually deteriorating environment

Hiroji Kubota’s photography is characterised by his ability to find moments of beauty and dignity amid the routines and chaos of human existence.

At the intersection of art and activism, Hank Willis Thomas’ work reframes material from contemporary consumer culture and histories of colonialism, shedding light on the legacy
of oppressive systems and stereotypes.

Shaped by his Iraqi-Jewish heritage, Michael Rakowitz’s work braids together seemingly disparate elements of cultural history,
mythic symbolism, contemporary geopolitics, Pop culture, food and looted artefacts.

Jasbir Puar and Dima Srouji build upon their respective work in architecture, visual art and decolonial theory to produce a collaborative examination of colonial pathologies.

Malala Andrialavidrazana works across disciplines to examine communication, dialogue and difference within cross-cultural contexts.

Shiraz Bayjoo’s practice elucidates forgotten histories that contain multiple layers of meaning and visual culture. Mainly working with repurposed archival displays, his works subvert oppressive western historical narratives that have defined the psyches of colonised peoples.

Anita Pouchard Serra’s visual storytelling practice draws from her transnational lived experience and engagement with social issues such as migration and women’s rights.

Sammy Baloji’s photographic and sculptural assemblages braid together the pre- and post-colonial histories of the Democratic Republic of the Congo by examining the industrial and cultural heritage of the Katanga region.

Vivan Sundaram works with contextual responsibility and radical contradiction, exploring shifts of medium, different ‘languages’, historical acuity and memory archives.

A trained chef, Mirna Bamieh melds food and storytelling to develop socially engaged work through Palestine Hosting Society, a live art project she founded in 2018.

Joiri Minaya is a Dominican- American multidisciplinary artist whose work investigates the continuity of colonial power hierarchies, often exploring the performativity of tropical identity and its commodification.

At the intersection of conceptual, staged and documentary image- making, Hoda Afshar’s lens- based artistic practice explores the representation of gender, marginality and displacement.

Berni Searle’s body is often at the centre of her work, rendered as a site of inquiry into prescribed notions of racial, gender and ethnographic identity.

Concerned with notions of dislocation and belonging, Veronica Ryan’s sculptures evoke shapes, forms and objects associated
with her heritage.

Moza Almatrooshi’s research investigates how territorial knowledge has been shaped across time, spanning agricultural practices, imperial impositions and postcolonial realities.

Questioning orientalist discourse, Lavanya Mani recontextualises the fantastical myths and fables
disseminated by Victorian travellers and the histories of traditional textile production.

Roméo Mivekannin’s reinterpretations of classical European art challenge western canonical representations of Blackness. The artist presents a series of canvases bridging unusual painting techniques and archival photographic images.

Reflecting on the concept of civic belonging, Bouchra Khalili examines the struggle of communities excluded from citizen memberships immigrants for equal rights and the
ways in which it continues to resonate in present times.

Coco Fusco’s practice engages with themes of power, race and the sociopolitical ramifications of Cuban exile.

Au Sow Yee explores fictional, mysterious narratives embedded within musical and archival sources and responds to the influence of Cold War structures in history- making processes in Southeast Asia.

Documentary photographer Solmaz Daryani captures social, political and ecological issues relating to Iran and the surrounding region.

Carrie Mae Weems’ approach to image-making ranges from staged and serialised narrative photography to the appropriation and adaptation of archival and ethnographic imagery.

By juxtaposing mass media depictions of Indigenous peoples with authentic cultural identities, Wendy Red Star creates personal, playful, revelatory and unsettling work.

Wook-kyung Choi (1940–1985) envisioned her body of work as a commitment to personal expression, aiming for a form of abstractionism in which the depicted subject
could be clearly recognised.

As a documentary photographer and visual storyteller, Rehab Eldalil challenges traditional frameworks of artist-subject relationships by involving those she photographs in the creative process. T

Zohra Opoku traces the politics of personal identity from a critical perspective informed by historical, cultural and socioeconomic influences in contemporary Ghana.

With narratives drawn from social conflict, oral history traditions and nonlinear storytelling, Amar Kanwar’s films offer a poetic vantage point from which to consider the ideologies and solidarities that populate the contemporary world.

Lee Kai Chung explores historical events and the material-ideological transformations of political systems. Four related multimedia works interrogate the personal
and material transformations of Hong Kong during its short-lived occupation by the Imperial Japanese Army.

At the centre of Diedrick Brackens’ intricate tapestries lie the loaded associations of cotton with the legacy of the transatlantic slave trade. Brackens’ series of allegorical tapestries are inspired by ancient West African Adinkra symbology.

Pak Khawateen Painting Club is a collective whose provocateurs investigate colossal hydrological engineering structures on the Indus River with transnational implications, including Indigenous displacement, land salinisation and ecological decline.

Drawing from Eurasian nomadic and Indigenous folklore, Almagul Menlibayeva’s work grapples with themes of displacement,
ethnic erasure and environmental destruction under totalitarian rule in post-Soviet Central Asia.

Emphasising Arab heritage and identity, Abdulrahim Salem’s practice grapples with elements of magic, mysticism and folk traditions.

The Living and the Dead Ensemble creates narratives interweaving Haiti’s present with its mythical, colourful and often forgotten histories.

Challenging the Eurocentrism of art, amplifying the labour of BIPOC women activists and evaluating notions of citizenship, Helina Metaferia seeks to elucidate the contradictions at the core of American identity.

Gabrielle Goliath’s practice lies at the intersection of art and activism, challenging the paradigms of racialised and sexualised violence that underpin postcolonial and post- apartheid societies.

Hangama Amiri combines sewn textile work with hand-painted elements to create images that reflect on conceptions of contemporary Afghan life.

Combining ancient mythology with modern history, Nilima Sheikh draws on diverse narrative and visual layering to compose symbolic dramaturgies and ephemeral landscapes dealing with themes of migration, exile, tradition and poetry.

Aziza Shadenova’s paintings, films and performances interrogate the world of emotions and memories and advance non- linear understandings of time.

Shelley Niro’s practice challenges the clichéd perceptions and circumscribed expectations projected onto First Nations communities.

Pamela Phatsimo Sunstrum’s boundary-defying practice attempts to transfigure notions of power and agency for Black subjectivity within systems that would otherwise dismiss the complexity and nuances of its cultural and intellectual histories.

Emirati-Lebanese artist Farah Al Qasimi’s multidisciplinary practice examines postcolonial power structures and gender roles and is visually grounded in the aesthetics of post-internet consumer culture.

Joana Hadjithomas and Khalil Joreige’s collaborative projects range from investigating disappearances during the Lebanese Civil War to rediscovering a forgotten space project from the 1960s to giving materiality to internet scams and examining the geological undergrounds of cities.

Basel Abbas and Ruanne Abou- Rahme’s multidisciplinary practice maps out a contemporary landscape shaped by a sense of perpetual crisis as well as a politics of desire and disaster.

At the intersection of textile design, crafts research and activism, Nelly Sethna (1932–1992) applied her skills as a weaver to create new visual languages, departing from the nationalist aesthetics expected of artists in post-independence India.

Kerry James Marshall is a visual artist best known for his large- scale acrylic paintings chronicling the modern African-American experience and claiming space for Black representation in a medium from which Black figures have historically been excluded.

Known for her sociopolitical sculptural work, Doris Salcedo’s multidisciplinary practice centres around themes of memory, loss and violence as experienced by the exiled and traumatised.

Kimowan Metchewais (1963–2011), a Cree visual artist of the Cold Lake First Nations reserve in Alberta, Canada, challenged the clichés projected onto Indigenous art.

Sifting through traces of the past, Brazilian visual artist Aline Motta seeks to reveal the constant cycles of renewal and transmutation that have occurred throughout her family’s history.

Remi Kuforiji’s work explores the intersection of cartography, racial politics and coloniality.

Varunika Saraf draws upon archival and mythical imagery to reference complex histories of South Asia and their place in the political and social arrangements of contemporary India.

Archana Hande reflects on the nuances of growing up in the shadow of colonialism in India and the reproduction of power through industrialisation.

Dana Awartani seeks to revive traditional Arab forms, techniques, concepts and spatial constructs as well as historic artistic practices
by making them relevant to the contemporary context.

Maitha Abdalla utilises cultural narratives rooted in notions of nostalgia, memory and folklore to question the dynamics of power often represented in parables.

Erkan Özgen explores the impact of war and terror on the collective and personal lives of those directly affected.