Biography

Trisha Baga was born in 1985 in Venice, FL. Baga is a Filipino-American artist working in stereoscopic 3D video installation, paint, clay, consumer grade electronics, and community performance. Compelled by an interest in what they call “the stuff that makes things stick together,” Baga recombines objects and images into scenarios that address issues related to the environment, technology, and identity. For them, working in a variety of media is an optimistic metaphor for the power of translation and connection, as they strive to unearth emotional histories and critically engage with contemporary image culture. Baga lives and works in Queens, New York, and is represented by Societe Berlin and Gio Marconi Gallery. Baga has had numerous solo institutional exhibitions including at the Whitney Museum of American Art, Pirelli HangarBicocca (Milan), Fridericianum (Kassel, Germany), and Kunstverein München. Their work is in several permanent collections including those of the Walker Art Center, the Gesellschaft für Moderne Kunst am Museum Ludwig Köln, the Whitney Museum, Kunstpalast (Dusseldorf, Germany), and Moderna Museet (Stockholm).

Sara Cwynar (Vancouver, BC, 1985) lives and works in New York. Her work in photography, video and installation involves a constant archiving and re-presentation of collected visual materials. For over 10 years she has been evolving her own personal visual language in installation, photography and film, revealing the powerful role that images play in our daily lives.  Her most recent exhibition, Baby Blue Benzo, is an overwhelming environment of obsessively constructed images and video. Cwynar holds an MFA from Yale University and a BDes from York University. Past projects include a commission for the Performa Biennial, New York (2021), “S/S 23”, Foam Photography Museum, Amsterdam (2023) “Apple Red, Grass Green, Sky Blue, ICA Los Angeles (2022)” “Source,” Remai Modern (2021),  “L’Image Volée,” Fondazione Prada, Milan, Italy (2016); and “Greater New York,” MoMA PS1, Queens, NY (2015/16). Cwynar’s works are held in the collections of The MoMA, New York, the Centre Pompidou, Paris; MMK Museum für Moderne Kunst, Frankfurt; and the National Gallery of Canada among others. In 2024 and 2025 she presented new solo exhibitions at 52 Walker in New York and ICA Boston in Boston, MA. In 2025 she was the recipient of a Guggenheim Foundation Award.

Mimi Ọnụọha, Nigerian-American artist (b. 1989, Italy) creates work that questions and exposes the contradictory logics of technological progress. Through print, code, data, video, installation, and archival media, Ọnụọha offers new orientations for making sense of the seeming absences that define systems of labor, ecology and relations. Ọnụọha's solo exhibition credits include Secession (Austria), Victoria and Albert Museum (UK), and bitforms Gallery (USA). Her work has been featured at the Whitney Museum of Art (USA), the Australian Centre for Contemporary Art (AUS), Mao Jihong Arts Foundation (China), La Gaitê Lyrique (France), Gropius Bau (Germany), The Photographers Gallery (UK), and Espaço Cultural Futuros Arte e Tecnologia (Brazil) among others. Her public art engagements have been supported by Akademie der Kunst (Germany), Le Centre Pompidou (France) the Royal College of Art (UK), the Rockefeller Foundation (USA), and Princeton University (USA). Ọnụọha earned her MPS from NYU Tisch's Interactice Telecommunications Program, where she has taught as an Assistant Professor. She is a United States Artist, Creative Capital and Fulbright-National Geographic grantee. She is also the Co-founder of A People's Guide To Tech, an artist-led organization that makes educational guides and workshops about emerging technology. 

Nickola Pottinger (b. 1986, Kingston, Jamaica) is a Jamaican-born artist working in sculpture, installation, and drawing. She lives and works in Brooklyn, New York, and received her BFA from The Cooper Union for the Advancement of Science and Art. Pottinger’s practice examines legacy, hybridity, and ancestral memory through materially driven processes of transformation. Working with handmade paper pulp made from family archives, domestic materials, found objects, and organic matter, she constructs hybrid sculptural forms—figures, furniture, and spirit-like beings she refers to as “duppies,” drawn from Jamaican folklore. Her work engages memory as a physical and spiritual material, building forms that hold personal and collective histories. Solo exhibitions include presentations at The Aldrich Contemporary Art Museum, Mrs., Deanna Evans Projects, and Parker Gallery. Her work has been exhibited in group shows at MoMA PS1, New Museum, P·P·O·W, Nicola Vassell, and internationally including Galerie Julien Cadet and Cooper Cole.