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

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.

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.

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.

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.

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.

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

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

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.

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.

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

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

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.

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.

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

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

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.

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

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.

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.

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

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

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.

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.

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.

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.