Ricardo Edwards is a self-taught traditional and digital visual artist born and based in Jamaica.

Marcel Pinas gathers materials from his maroon community in Suriname and reconfigures them to create powerful conceptual works that speak to the violence and destruction of the past while affirming life in the collective production of a community that continues to rise in the face of ongoing challenges from the neocolonial state.

Curry sees his artistic practice as something of a trick- open to interpretation, without a clear framework, and purposely vague. How the installation of swimsuits read in The Bahamas or outside its primary reference space is therefore entirely up to the viewer.

McIntyre based the outlines of Game Face on her own 2017 passport photo. Taking the silhouette or outline of a passport as a frame, acknowledges the visual life of social affliction in the way photography has often been a policing tool. As such, the passport operates as an undeniable frame for the imbrication of visibility and violence.

There are no black angels depicted in the history of Western art. René Peña inserts a monumental black angel into this void of art history. His work exhibits an understanding of the historical stakes of looking for black people and at black people. It troubles the presumed objectivity and authority of the colonial eye and imperial art histories to reveal the ways power shapes how one sees and what one sees.

The barbell sits in the gallery. Its weights, cannonballs, sourced from a cannon in Puerto Rico, gesture to the incongruous historical relationship between the United States and its territories and the literal weight of this history Puerto Ricans carry.

The bodies of Wounds #17 fall in line with Florine Demosthene's tendency to exaggerate different aspects of the black female body in a manner that plays with proportions which in her words, "verge on the grotesque" that lives in us. The artist states, "We are wounded people... There is no other way I can put it... this thing is the driving force... This wound is passed on."

A lightbox fashioned after LED-advertising signs strapped to a mobile platform hand-drawn by the artist herself puts both the artist and her work into a mutually-dependent movement suggestive of a spatial sensibility attuned to both the environment within which the contraption could be wheeled, and the female artist body that could carry it forth.

Belkis Ramírez was a Dominican contemporary printmaker and installation artist. She was born in the province of Santiago Rodríguez, Dominican Republic. She studied at the Universidad Autónoma of Santo Domingo, graduating with a degree in Architecture and Graphic Graphic Design in 1986.

Patricia Kaersenhout uses portraiture to think about the ways the contributions of enslaved and colonized Black women have been erased from the archive. Here she re-centers forgotten women who were major intellectual figures in Caribbean and African diasporic history and intellectual life as subject.