Asma Kazmi's selected solo and two person exhibitions include: the Commons Gallery, University of Hawaii in Honolulu; Faraar Gallery, Karachi, Pakistan; IBA, University of Karachi, Pakistan; LACE (Los Angeles Contemporary Exhibitions); 18th Street Arts Center, Santa Monica; Contemporary Art Museum, St. Louis; Gallery 210, University of Missouri St Louis; MassArt Film Society, Boston; Hunt Gallery, Webster University, St Louis; and Gallery 400, University of Illinois in Chicago. She been included in numerous group shows nationally and internationally at venues such as the Wattis Institute of Contemporary Art, San Francisco; San Jose Institute of Contemporary Art, San Jose, CA; Utah Museum of Contemporary Art, Salt Lake City; Queens Museum of Art, NY; H&R Block Space, Kansas City; The Guild Gallery, New York; and Galerie Sans Titre, Brussels, Belgium.

She is the recipient of a Fulbright Research Award, (CIES) to India. She also received two Faculty Research Grants from CalArts, the Great Rivers Biennial Grant from the Contemporary Art Museum St. Louis, the Rocket Grant from the Spencer Museum of Art at the University of Kansas, and the At the Edge: Innovative Art in Chicago Award, by Gallery 400 at the University of Illinois in Chicago. At UC Berkeley, Kazmi has received the BCNM Seed Grant and Al-Falah Grant to support research in Saudi Arabia.

She is currently an Assistant Professor in the Department of Art Practice at UC Berkeley. Previously, Asma Kazmi was permanent faculty and co-program director of the Art Program at the California Institute of the Arts in Los Angeles.

His current work focuses on mediations between individuals, communities and environments. When do technologies dehumanize us, and when do they help us deepen human experiences?

Born in the Philippines in 1974, Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. She is featured in the acclaimed PBS documentary series Art21: Art in the Twenty-First Century, Season 9, released in September 2018, and is included in the 2018 Renwick Invitational “Disrupting Craft” at the Smithsonian American Art Museum. Her awards and residencies include the Guggenheim Fellowship (2014), Artadia Fellowship Residency Award at the International Studio and Curatorial Program (2010), Joan Mitchell Painters & Sculptors Award (2009), and Skowhegan School of Painting and Sculpture (1997).

She has had major exhibitions at the Museum of Modern Art (2018); the San Francisco Museum of Modern Art (2018, 2017, 2011, 2000); Havana Biennial (2015); Asian Art Biennial (2015); Z33 Space for Contemporary Art (2012); ZKM Center for Art and Media Technology (2011); MoMA P.S.1 (2009, 2006); and Whitney Museum of American Art (2005). Syjuco is a long-time educator and lives and works in Oakland.

deSouza's work has been shown extensively in the US and internationally, including at the Krannert Museum, IL; the Phillips Collection, Washington, DC; the International Center for Photography, NY; and the Pompidou Centre, Paris. deSouza's book, How Art Can Be Thought, (Duke, 2018) examines the vocabulary used to discuss art, and proposes decolonizing artistic and pedagogical practices that can form new attachments within the contemporary world. Most immediately, the book lays some foundations for strategies and goals of MFA programs in Studio Art. deSouza is represented by Talwar Gallery, NY and New Delhi.

In 2009 Hinkle received her BFA in Painting from The Maryland Institute College of Art (MICA) Baltimore, MD and in 2012 she received a dual MFA in Art & Critical Studies Creative Writing from The California Institute of the Arts (CalArts) Valencia, CA. In the Fall of 2018 Hinkle became the Assistant Professor of Painting in The Department of Art Practice.

Her artwork and experimental writing has been exhibited and performed at The Studio Museum in Harlem, Project Row Houses, The California African American Museum, The Hammer Museum, The Museum of Art at The University of New Hampshire, The Museum of the African Diaspora (MoAD) in San Francisco, The Made in LA 2012 Biennial and The BALTIC Centre for Contemporary Art, Newcastle upon Tyne, UK among others. Hinkle’s work has been reviewed by the Los Angeles Times, LA Weekly, Artforum, Hyperallergic, Ebony Magazine, The Huffington Post, The Washington Post and The New York Times. She is also the recipient of several awards including: The Cultural Center for Innovation’s Investing in Artists Grant, Social Practice in Art (SPart-LA), Jacob K Javits Fellowship for Graduate Study, The Fulbright Fellowship, and The Rema Hort Mann Foundation Emerging Artists Award. Her writing has appeared in Not That But This, Obsidian Journal, Among Margins: Critical & Lyrical Writing on Aesthetics. Hinkle’s limited edition art book Kentifrications: Convergent Truth(s) & Realities 2018 was published by Occidental College in collaboration with Sming Sming Books. She has a forthcoming book titled SIR, a reflection on naming as a tool for undefining the defined, that will be published with Litmus Press.

Castaneda/reiman has had recent solo exhibitions at DCKT Contemporary (New York), Yerba Buena Center for the Arts (SF), Baer Ridgway Exhibitions (SF), Second Street Gallery (VA), and Stephen Wirtz (SF), among others. Their work has been included in group shows at SFMOMA, Yerba Buena Center for the Arts, The Oakland Museum of CA and various galleries and art spaces both nationally and internationally. They have been recipients of an Artadia Grant and Fleishhacker Foundation Eureka Fellowship, and artists in residence at Headlands Center for the Arts.

Walsh's performances, videos, sculpture and works on paper have been exhibited at Diapason, NYC; San Francisco Camerawork; Rosenbach Museum and Library (Philadelphia); Artists Space (NYC); Royal College of Art (London), Lothringer 13 (Munich), the Whitney Museum of American Art, and as part of the Hayward Gallery's (London) traveling exhibition program. Her sound work with Chris Kubick has aired on multiple National Public Radio (US) programs, Resonance Radio (UK), Munich Public Radio, Australian Broadcasting Corporation.

In Spring 2019, No Place Press releases Walsh's full-length book, Hello Leonora Soy Anne Walsh, which collects Walsh’s multipart responses to surrealist painter Leonora Carrington's novel The Hearing Trumpet (written in the early 1960s, published in 1974). Over the past decade and using multiple media, Walsh chronicled her time with the nonagenarian author and, ultimately, her assumption of the identity of the aging artist. Hello Leonora, Soy Anne Walsh is a visual and written 'adaptation' of Carringto''s feminist novella, offering a narrative in fragments: a middle-aged artist named Anne Walsh falls in love with the 92-year-old author of a book about a 92-year-old woman who is placed in a sinister and increasingly surreal retirement home.

The story is told through facsimiles of hand-written letters, annotated research notes, post-it note flow charts, cast lists, scripts, and a photographic essay that loosely narrates Walsh's visits to Carrington in Mexico City, with additional texts by writer Dodie Bellamy, art historian Julia Bryan-Wilson, and poet and critic Claudia La Rocco.

In past work, she searched for Bigfoot in the Sierra Nevada, inserted herself into the art historical work of John Baldessari, and became a private investigator who performed surveillance on art collectors. Born in Illinois, she received her MFA in from University of California, Los Angeles and her BA from University of California, Berkeley in English (high honors). Her work has been exhibited nationally and internationally, and collected in public institutions worldwide including CA2M Centro de Arte Dos de Mayo in Madrid and the Hirshhorn Museum and Sculpture Garden. She has received numerous grants and awards, including an Individual Engagement Grant from the Wikimedia Foundation and an Arts Council England Award.