Lizania Cruz: Gathering Evidence: Santo Domingo & New York City. Curator-Mentor: Guadalupe Maravilla by CUE Art Foundation

LIZANIA CRUZ

137 West 25th Street New York, NY 10001

cuear tfoundation.org

LIZANIA CRUZ Gathering Evidence: Santo Domingo & New York City Curator-Mentor: GUADALUPE MARAVILLA July 22 - August 25, 2021

¡Se Buscan Testigos! [Looking for Witnesses!] Portrait of a Detective in NYC, 2021 Documentation of happening Dimensions variable Photo by Neha Gautam

GATHERING EVIDENCE: SANTO DOMINGO & NEW YORK CITY Lizania Cruz they ask me to remember but they want me to remember their memories and i keep on remembering mine. – Lucille Clifton “why some people be mad at me sometimes”

practice. Within these, the public is always at the center, engaged through interview-style actions to investigate notions of being and belonging. The result of these interactions are documented through objects such as books, zines, digital platforms, installations, video, and photography. For Investigación del Imaginario Racial Dominicano (IIRD) [Investigation of Via WhatsApp, I asked my 1 the Dominican Racial Imaginary], grandmother where the batey I’ve been looking at the role that was in Andrés, Boca Chica, the historical narratives have played in town where my grandfather was repressing African heritage within from and where I spent most of the Dominican Republic. I see this my childhood in the Dominican repression as a crime committed Republic. Without hesitation by the nation-state against the she replied, “Andrés es el people. Therefore, I’m collecting batey” [Andrés is the batey]. I remembered the Gaga2 coming evidence and testimonies that through our backyard every Easter. verify the motives, affects, and consequences of this crime in And how our house, which was how we (Dominicans) understand part of el CEA’s3 housing for the ourselves racially and view our sugar mill senior management, Haitian neighbors. The investigawas fenced off but just a couple tion acts as an official bureaucratic of minutes away by foot from the institution using visual cues that town’s center. As a child, el batey emulate legal documents such as a felt distant to me, but I was part logo, a letterhead, and a foil stamp, of it. Therefore, I started asking to mention a few. Within this myself: how so? institution, I’m also questioning Inquiry, participation, memory, and the construction of the law as a the archive (personal and national) structural system that inherently reinforces ideals of white are the materials I employ in my

supremacy. For example, in 2013 a law titled La Sentencia 168-13 retroactively revoked Dominican citizenship from an estimated 200,000 Dominicans of Haitian descent. For me, as in most of my work, the archive and who is a part of it becomes an emancipatory tool from these oppressive structures, not only by what we can learn and unlearn from it, but also by establishing a record of our lived experiences from the past, present, and for the future. These documents become the evidence needed to shift discourse in the public sphere. This shift is necessary for all of us to see our interdependency, and in order to collectively and individually raise our consciousness. * 1 A town of sugarcane cutters typically formed by Haitian workers and Dominicans of Haitian descent as part of the sugar mill plantation. 2 “Part voodoo, part African religion transplanted to Haiti and then to Dominican Republic by Haitian immigrants, Gagá was brought to the Dominican Republic by Haitians who are in the country since 1844, when the Republic was created and later by those Haitians brought into the country to work in occupations related to the production of sugar cane as a result of the many agreements between the Haitian and Dominican government.” Soraya Aracena, “The Dominican-Haitian Gaga, a cult for the here and now,” Arrayanos, 2014. http://www.arrayanos. org/Gaga.html. 3 Consejo Estatal Del Azúcar [Sugar State Council].

Lizania Cruz is a Dominican participatory artist and designer interested in how migration affects ways of being and belonging. Through research, oral history, and audience participation, she creates projects that highlight a pluralistic narrative on migration. Cruz has been an artist-in-residence and fellow at the Laundromat Project Create Change (2017-2019), Agora Collective Berlin (2018), Design Trust for Public Space (2018), Recess Session (2019), IdeasCity:New Museum (2019), Stoneleaf Retreat (2019), Robert Blackburn Workshop Studio Immersion Project (2019), A.I.R. Gallery (20202021), BRIClab: Contemporary Art (2020-2021), Center for Book Arts (2020-2021), and Jerome Hill Artist Fellow, Visual Arts (2021-2022). Her work has been exhibited at the Arlington Arts Center; BronxArtSpace; Project for Empty Space; ArtCenter South Florida; Jenkins Johnson Project Space; The August Wilson Center; Sharjah’s First Design Biennale; and Untitled, Art Miami Beach; among others. Most recently, she is included in ESTAMOS BIEN: LA TRIENAL 20/21 at el Museo del Barrio, the first national survey of Latinx artists by the institution. Furthermore, her artworks and installations have been featured in Hyperallergic, Fuse News, KQED Arts, Dazed Magazine, Garage Magazine, and The New York Times.

Special Thanks [Gracias] I’m eternally grateful to my community of friends and family for their support and love. Thanks to the ancestral spirit of Fradique Lizardo, whose work and archive has become invaluable to my research. To Sindicato, especially Laura Castro, for allowing me to experiment freely. To the Reconoci.do movement and We Are All Dominican for their work in documenting the lives of Dominicans of Haitian descent and building solidarity in this struggle across communities. To Edis Sanchez and Cleto Minier for bringing to life La Gayumba and connecting me to this tradition. To Jhensen Ortiz and his generosity as a librarian and researcher so that artists like me have access to the archives. To Guadalupe Maravilla for their enthusiasm and push to keep working how I do. To Alex Santana for putting into words aspects of my practice I haven’t yet verbalized. To the residencies and fellowship spaces that have made this work possible so far: Stoneleaf Retreat, Robert Blackburn Workshop Studio Immersion Project, BRIClab: Contemporary Art, and Center for Book Arts. To all who helped me and provided their expertise to make the work: Paula Cury, Matthew Ross, Ricardo Ariel Toribio, Manu Hidalgo, Neha Gautam, Jose Miguel Liriano (Rubio), Stephanie Rodrigues, Tiempo de Zafra, Rie Hasegawa, and John Andrews. To the entire CUE team. And last but surely not least, to all the participants. Without them the work doesn’t happen. Mil Gracias!!

In Search of Motives exhibition view A.I.R. Gallery, NYC, 2021 Photo by Sebastian Bach

GUADALUPE MARAVILLA Curator-Mentor Dominican immigrant, who do you New York-based artist Lizania think the border wall is for? Cruz investigates the public What do you know about the 14th history of Dominicans, both in her (Movimiento 14 de Junio)? home country of the Dominican What do you know of 1965 in the Republic and within the diasporic Dominican Republic? communities around New York Dominican, did you get married for City. Cruz has created a comprethe papers and why? hensive archive of the history of Dominican, did you migrate the Dominican Republic. She has between the years: 1960–1962; a traveling newsstand of zines 1966–1978; 1986–1996? And why? documenting oral histories of Do you send remittances to the first generation Black Americans D.R., and how much? living in the United States. Her research has examined the legacy of immigrants and their disillusion- Physical signs are posted and collaborators respond via ment with the American Dream. WhatsApp. Interactions between Her work has given aesthetic Cruz and the participants are authorship to undocumented then transformed and ultimately immigrants and has challenged presented as videos, photographs, our understanding of how global economies of remittances operate. drawings, and installations. Collaborations with the public are essential to Cruz’s art practice: oral In the Dominican Republic, Cruz’s research led to a discovery of an histories and opinions from often ancestral Dominican instrument, unheard voices are collected and La Gayumba. There is evidence presented as part of her multithat the instrument is also found in disciplinary art practice. Cruz’s approach to artmaking consists of the Ituri forest in the Congo basin, collecting information, archiving it, signalling that it was brought to the Dominican Republic from Africa. and then presenting her research Through this discovery, Cruz has back to the public. found evidence that Dominicans can in fact be descendants of Public questions are posted in bodegas, laundromats, African enslaved people. restaurants, and hair salons in “Se toca donde se hace y ya” Dominican neighborhoods in it’s played where it’s made and New York City and all over in the that’s it! This quote is from an Dominican Republic: 8

Evidence 010: La Gayumba, Tool for the Memory of our African Ancestors, 2020 Coffee sticks, guava sticks, and palm yagua Dimensions variable Photo by Elisa Bergel Melo

interview between Cruz and Edis Sanchez about the instrument. What makes La Gayumba unique is that it’s connected to the ground— it’s part of a living plant that grows from the earth and vibrates the ground. It can’t be moved and has to be played on site where it’s planted. It can be said that La Gayumba is also another non-human collaborator of history in Cruz’s extensive practice. * Guadalupe Maravilla is a transdisciplinary visual artist, choreographer, and healer. At the age of eight, Maravilla was part of the first wave of unaccompanied, undocumented children to arrive at the United States border in the 1980s as a result of the Salvadoran Civil War. As an acknowledge-

ment of his own migratory past, Maravilla grounds his practice in the historical and contemporary contexts of immigrant culture, particularly those belonging to Latinx communities. Maravilla currently lives in Brooklyn, NY. In 2019, Maravilla was awarded a Guggenheim Foundation Fellowship. He has exhibited and performed in major museums such as the Whitney Museum of American Art, the Metropolitan Museum of Art, the Institute of Contemporary Art Miami, and many more. His work is in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, the Institute of Contemporary Art Miami, and the Museo Nacional Centro de Arte Reina Sofía. 9

THIS SPREAD AND NEXT ¡Se Buscan Testigos! [Looking for Witnesses!], 2021 Documentation of happening Dimensions variable

¡Se Buscan Testigos! [Looking for Witnesses!], 2020 Documentation of happening Dimensions variable Photo by Paula Cury

¡Se Buscan Testigos! [Looking for Witnesses!], 2021 Documentation of happening Dimensions variable Photo by Neha Gautam

¡Se Buscan Testigos! [Looking for Witnesses!], 2021 Documentation of happening Dimensions variable

¡Se Buscan Testigos! [Looking for Witnesses!], 2020 Documentation of happening Dimensions variable Photo by Paula Cury

LIZANIA CRUZ: ARCHIVAL IRREVERENCE Alex Santana

In a recent lecture, Lizania Cruz explained—with a smile on her face—that as an artist, she intentionally relinquishes control.1 It is not a factor she is particularly interested in because control does not serve the function of her work. Instead, she thinks through modalities of agency and intent. Her practice is grounded in the notion that participation is a tool that should always center people first, and not the art. Noting this careful distinction, I cite Cruz’s own words: “Art can be a catalyst for change, but there are material conditions that art can never really provide for.” Participation in art encourages critical thought, action, and change, slowly seeping from the symbolic realm to lived, material realities. Cruz’s work asks us to really consider what public history fundamentally is. How is a public history documented and distributed over time? Who controls access to history, which in 22

turn shapes public ideology? What, in other words, are the real-life stories of people that have evaded the institutional historiographies of an Empire? And finally, how can art as intervention be a catalyst or seed for the creation of entirely new, alternative archives of understanding? Cruz’s work firmly positions a public, or the lived realities of people, as diametrically opposed to the historiographic tendencies of official record keepers. Cruz’s projects expose the hollow symbolism and rhetoric of a state that has fundamentally failed its people, and of global nation-states that cyclically violate basic thresholds for humanity through unimaginably horrific means. Although some of Cruz’s works address histories specific to the Dominican Republic—her home country—and others are contextualized in New York City—the site she has called home for years—all of the works

acknowledge that a single nation’s access to histories that have been obscured and unrecorded. If these history is inevitably entangled archives do not exist, they can be with the histories of many others. created meaningfully, through This is conveyed by the many participation and dialogue. immigrants to the U.S. whose stories are now recorded in her Through collective participation in multimedia project We The News her work, Cruz re-incorporates the (2017-ongoing), the narratives of public in the archive. Sometimes Dominicans, Haitians, and United Statesians that are recorded in her the archival contributions are messy, casual, or unofficial, yet investigation ¡Se Buscan Testigos! they offer an irreverence that is [Looking for Witnesses!] (2020more necessary today than any 21), and the data she gathered other dominant archive. This in $200 From... To... - With Love (2019). The work suggests that participation dissolves the inherent authority of hegemonic ideologies you cannot tell Dominican history and re-vindicates the public without acknowledging Haiti’s in the archive, while building successful rebellion, or Spain’s authentic historical memory. Cruz violent conquest, or U.S. military is simultaneously contesting occupations. Similarly, you existing archives, and perhaps cannot tell U.S. history without acknowledging that part of it was more importantly, creating entirely new experiential ones where the once Mexico, and is today shaped main purpose is re-engaging by the shadow of the institution and re-contextualizing the public of slavery as well as recent through direct inclusion. contributions from immigrants from all over the world. Cruz’s work suggests that a more complete * archive should allow the public 23

$200 From… To… -With Love installation view Recess, NYC, 2019 Photo by Kris Graves

1. $200 From... To... - With Love, 2019 $200 From... To... - With Love is a project that considers how global economies of remittances operate at different scales and speeds, and how they are illustrative of global power dynamics through flows of capital from the top-down. Inviting visitors to Recess Art in Brooklyn, NY during her Session artist residency in 2019, Cruz requested their receipts from recent purchases and later recorded and translated them to their equivalent currency value in one of the countries that receives large amounts of remittances from the U.S. For example, in the U.S., $5 worth of popcorn at the movie theater is equivalent to the purchase of 13 kg of fresh corn in Honduras. The tension of this steep contrast is depicted in a series of monochromatic yellow collages, with illustrations of food and fragments from printed receipts. $200 From... To... - With Love questions how value, and thus power, fluctuates with currency flows. In a final action, Cruz collected 25 receipts, calculated their total in USD, and measured their equivalent value with the cost of rice in Haiti. She then filled a large sack with rice, and mailed it to the Washington D.C. office of the Director of USAID in Haiti. Stamped on the sack was a note: “Is aid working as we’d hope?” She never received a response. In an artist statement, Cruz underscores that in 2017, global development aid reached a new peak at 162 billion dollars. This 25

and gathers narratives that would perhaps never be officially recorded in the first place, that evade official historiographies and institutional surveys. It is free for everyone and attempts to explain the complex, constant negotiations of identity that Black immigrants face in the U.S., a country whose legacies of racism are entrenched in all aspects of In Cruz’s action, the sack of rice reminds us of physicality and scale. public and private life. In some countries, like Haiti and In a true attempt at radical the Dominican Republic, a sack of dispersal, the newsstand is rice is gifted by a politician to a person in a village, a symbolic gift mobile and on wheels. We the News reminds me of informal in exchange for a vote. A sack of rice is food to feed a family. A sack architectures of the Caribbean, like pulga stands covered with bright of rice is a micro-level universe, blue tarp, engineered out of great a collection of grains that tells a necessity and resourcefulness and complex story about migration, requiring ongoing participation, capital, and labor. What if we patience, and care. What if we imagine a sack of rice to be consider how these mobile stands an archive? function simultaneously as archives, meetup spots, and story circles, 2. We the News, 2017-ongoing irreverently situated outdoors in public space, announcing Consisting of a traveling themselves in bright colors? newsstand, We the News is an ongoing production of zines, workshops, and other publications 3. ¡Se Buscan Testigos!, 2020-21 documenting the narratives of ¡Se Buscan Testigos! is a Black immigrants in the U.S. and component of La Investigación first-generation Black Americans. del Imaginario Racial Dominicano Participants are encouraged to (IIRD) [Investigation of the voice their stories, which Cruz Dominican Racial Imaginary], records, transcribes, and edits. which takes the form of a Oral histories are transferred to criminal investigation that seeks writing, and form part of a mobile testimonies from witnesses to material archive of diasporic indict the Dominican state in understanding. Sometimes, archival and historical violence, the writings are translated into specifically, in the erasure of Black different languages, increasing identity from the Dominican racial their potential accessibility. imaginary. This project radically reconsiders who is allowed to We the News exists in public contribute to historical memory, spaces, and is made by its and privileges direct narratives participants. It is anti-hierarchical

is just a fraction compared to the 500 billion dollars immigrants send home annually in remittances. In Haiti, remittances alone comprise 32.4% of Haiti’s GDP. These numbers illustrate how migration, labor flows, and neoliberal policies affect the livelihoods of everyday people.

We the News, 2017-ongoing Wood, paper, metal 84 x 60 inches Images of public happenings in Bed-Stuy, Brooklyn in 2018 (top) and 2019 (right)

[...] el 95% [...] ha sido totalmente from the general public. IIRD is falso. [...] La historia la cuenta el a makeshift institutional archive sobreviviente, es decir, aquel created by Cruz, consisting of a comprehensive data-filled website, que gana, aquel que termina conquistando lo que quiere.”5 a logo, and business cards. These This testimony is recorded and elements give the project a sense becomes crucial evidence in Cruz’s of bureaucratic authority, and an investigation. It affirms an ideology official aesthetic that challenges the inherent authority of dominant of questioning and suggests: what if there is a difference between channels of information. what actually occurred and what In her first intervention in Santiago has been said to have occurred?6 How might our collective de los Caballeros, Cruz installed signs along specific streets, placed verbalized doubts make up a new, dynamic archive of the now? ads in classified sections of local papers, and announced the survey Cruz’s second iteration of ¡Se over loudspeaker in a moving 2 Buscan Testigos! is bilingual car. Each sign bore a poignant question, like “¿Cuándo y dónde and took place in Dominican baila usted música con influencias neighborhoods of New York City. Africanas; Salsa, Merengue, This specific iteration considers Bachata?”3 Each question related if and how the experience of to the specific context of the diasporic migration shifts public outskirts of Santiago and also discourse and popular ideology, to the erasure of Black history in given that Dominican Black 4 Dominican historical memory. identity is often re-contextualized Accessible via the website of IIRD, and re-negotiated after the the collected responses make experience of migration and up a digital archive of voice racialization in a U.S. context.7 In notes and WhatsApp messages. this iteration, Cruz’s questions Responses from the Santiago include allusions to U.S. invasions intervention capture a popular of the Dominican Republic, as discourse of anti-Black racism, well as the legacies of Juan shared among both Dominicans Bosch, Rafael Trujillo, and Joaquín and Haitians, most often Balaguer. The questions also verbalized as anti-Haitianism. underscore the reasoning behind mass migration, and how flows Other responses, however, are of labor and capital between the more complex, and illustrate U.S. and the D.R. are inextricably how members of the public are linked.8 In this line of questioning thinking critically about dominant and search for people to act as narratives of colonial imperialism. witnesses, power is moved back A question about Christopher into the hands of the people. How Columbus’s true history received does the experience of migration one 15-minute voice note as a shift one’s sense of self, of home, response, in which the author and most importantly, of one’s states: “Todo lo que nos han place in the world? Is there an dicho [...] sobre Cristóbal Colón, archive that adequately reflects 28

xenophobic microaggressions, the exhaustion of a 12-hour shift driving for Uber, or the distant sounds of salsa playing until four in the morning? *

although it sometimes does not feel that way. An archive is a way of acknowledging the undeniable presence of our collective ghosts and hauntings in daily life. It cannot exclude the people because it is shaped by the public.

* Cruz’s projects do not reside within any institution. Most 1 Lizania Cruz, Objects & Methods of her artworks can only be Lecture Series, Virginia Commonwealth experienced with a body, with a University, VCU Arts, Zoom, March 25, voice, with agency, and in public 2021. space. The physical components 2 The signs are installed in sites related in the exhibition are simply to the history they are questioning. documentation, thoughts, and For example, Cruz installed signs at el fragments of an experience that Pico Diego de Ocampo, named after a is continually ongoing elsewhere. formerly enslaved cimarrón who rebelled The work incurs its meaning and freed various plantations in the early through dispersion, through its reverberations in the atmosphere, 16th century. He was eventually captured and executed by the Spaniards in 1546. and how those whispers touch 3 “When and where do you dance to Afrimany lives, slowly shifting with can-influenced music: Salsa, Merengue, the environment. Cruz’s practice Bachata?” can be characterized as a kind 4 All of Cruz’s questions are informed of archival and institutional by in-depth archival research led by rebellion. She once explained: “I the artist, specifically in the archives of can use the archive as a way to el Fondo Fradique Lizardo de Folklore recontextualize history today.”9 Her Dominicano at El Centro León. work seems to suggest that doing 5 “Everything we have been told about so, revealing the truths of today, Christopher Columbus, 95% of it has requires an irreverence for the been totally false. History is told by the top-down authority of the archive survivor, by those who win, by those itself. Cruz’s archival subversions who end up conquering everything they question the hegemony desire.” embedded within official records. A river is an archive of violence, as René Philoctète beautifully illustrates in his 1989 novel Massacre River. A body is an archive of dissent, as Johan Mijail writes in her Manifiesto Antirracista (2018). A street is an archive of experiences, as Cruz suggests in her participatory practice. Archives are proof that we exist––that we are, in fact, alive,

6 Silvio Torres-Saillant, "The Tribulations of Blackness: Stages in Dominican Racial Identity." Latin American Perspectives 25, no. 3 (1998): 126-46. The tension of archival or historical omission and erasure is outlined by Silvio Torres-Saillant in his essay “The Tribulations of Blackness” (1998), a foundational text that has informed Cruz’s research. 7 Also discussed by Silvio Torres-Saillant in Introduction to Dominican Blackness (New York: CUNY Dominican Studies Institute, 2010).

8 These flows are discussed in Ramona Hernandez, The Mobility of Workers Under Advanced Capitalism: Dominican Migration to the United States (New York: Columbia University Press, 2002). 9 Lizania Cruz in conversation with the author, March 17, 2021.

Mentor Leticia Alvarado is an Associate Professor of American Studies at Brown University. She is This text was written as part of the a past recipient of a Smithsonian Art Critic Mentoring Program, a Latino Studies Predoctoral partnership between AICA-USA Fellowship, a Ford Foundation (US section of International Postdoctoral Fellowship, and Association of Art Critics) and CUE, an American Association of which pairs emerging writers with University Women American AICA-USA mentors to produce Fellowship. Her book, Abject original essays on a specific Performances: Aesthetic Strategies exhibiting artist. Please visit in Latino Cultural Production aicausa.org for more information (Duke University Press, 2018), on AICA-USA, or cueartfoundation. received honorable mentions org to learn how to participate from the 2019 Latin American in this program. No part of this Studies Association Latino/a essay may be reproduced without Studies Section Outstanding prior consent from the author. Lilly Book Award and the Modern Wei is AICA’s Coordinator for the Language Association Book Prize program this season. in United States Latina and Latino and Chicana and Chicano Literary * and Cultural Studies. Her essays and articles have appeared in the Alex Santana is a contemporary Journal of Latin American Cultural art criticism writer and curator with Studies, Small Axe: A Caribbean an interest in conceptual, political, Journal of Cultural Criticism, Aztlán: participatory art and curatorial A Journal of Chicano Studies, studies. Originally from Newark, Latin American and Latinx Visual NJ, she is a child of immigrants Culture, Women & Performance: A from Spain and the Dominican Journal of Feminist Thought, ASAP/ Republic, and is deeply committed Journal, the art museum catalogue to social equity, access, and Axis Mundo: Queer Networks in liberation, especially in the arts. Chicano L.A., and are forthcoming She has held research positions in Keywords for Gender and at the Smithsonian American Art Sexuality Studies and The Art Museum (Washington D.C.), the Institute of Chicago Field Guide Newcomb Art Museum (New to Photography and Media. Her Orleans, LA), and Mana Contemcurrent book project, Cut/Hoard/ porary (Jersey City, NJ). In 2018, Suture: Aesthetics in Relation, is she curated the exhibition Morir supported by the Creative Capital Soñando at Knockdown Center | Andy Warhol Foundation Arts (Queens, NY), and since then Writers Grant Program. *

has collaborated with artists and curators on other independent projects, including a DIY summer lecture series, Artists on Artists.

CUE Art Foundation is a visual arts center dedicated to creating essential career and educational opportunities for artists of all ages. Through exhibitions, arts education, and public programs, CUE provides artists, writers, and audiences with sustaining, meaningful experiences and resources. CUE’s exhibition program aims to present new and exceptionally strong work by under-recognized and emerging artists based in the United States, and is committed to exhibiting work of all disciplines. This exhibition is a winning selection from the 2020-21 Open Call for Solo Exhibitions. The proposal was unanimously selected by a panel comprised of artist Guadalupe Maravilla, curator Sohrab Mohebbi, artist Ronny Quevedo, and curator Legacy Russell. In line with CUE’s commitment to providing substantive professional development opportunities, panelists also serve as mentors to the exhibiting artists, providing support throughout the process of developing the exhibition. We are honored to work with Guadalupe Maravilla as the curator-mentor to Lizania Cruz.

BOARD OF DIRECTORS Amanda Adams-Louis Theodore S. Berger Kate Buchanan Marcy Cohen Blake Horn Thomas K.Y. Hsu Steffani Jemison John S. Kiely Vivian Kuan Rachel Maniatis Aliza Nisenbaum Kyle Sheahen Lilly Wei Gregory Amenoff, Emeritus

ADVISORY COUNCIL Polly Apfelbaum Katie Cercone Lynn Crawford Ian Cooper Michelle Grabner Eleanor Heartney Trenton Doyle Hancock Pablo Helguera Paddy Johnson Deborah Kass Sharon Lockhart Juan Sánchez Lilly Wei Andrea Zittel Irving Sandler (in memoriam)

STAFF Corina Larkin Executive Director Beatrice Wolert-Weese Deputy Director Lilly Hern-Fondation Programs Director Sharmistha Ray Development Manager Josephine Heston Senior Programs Associate Gillian Carver Programs & Communications Coordinator Cara Erdman Development Coordinator

137 West 25th Street New York, NY 10001 cueartfoundation.org

CUE Art Foundation's programs are made possible with the generous support of foundations, government agencies, corporations, and individuals. MAJOR PROGRAMMATIC SUPPORT PROVIDED BY The Andy Warhol Foundation for the Visual Arts Anholt Services (USA), Inc. Aon PLC Chubb

Cleary Gottlieb Steen & Hamilton LLP Clifford Chance

Compass Group Management LLC ING Financial Services Merrill Corporation

The Milton and Sally Avery Arts Foundation, Inc. The Shelley and Donald Rubin Foundation Wilhelm Family Foundation

William Talbott Hillman Foundation

New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council This project is supported in part by an award from the National Endowment for the Arts

All ar twork © Lizania Cruz. Cover image: ¡Se Buscan Testigos! [Looking for Witnesses!], 2021. Photo by Paula Cury. Catalogue design by Lilly Hern-Fondation.