New Voices: On Futurity by Print Center New York

On Futurity

Foreword

Judy Hecker, Executive Director

Jenn Bratovich, Chief Curator

21 On Futurity

Alana Hernandez

51 Reading List

57 Works in the Exhibition

byen fon anlè chemen an nan lawouze a, 2025

Edwige Charlot

Edwige Charlot Etranje, 2024

Edwige Charlot

vizyon grenn yo (visions of seeds), 2023

Foreword

Print Center New York is pleased to present New Voices: On Futurity in the Jordan Schnitzer Gallery. This third presentation of our annual New Voices program occurs as we celebrate Print Center New York’s 25th anniversary. It is, therefore, a fitting time to think about the future. Guest curator Alana Hernandez selected futurity as the organizing principle for her edition of this opencall program, which aims to support US artists whose print-based practices show clarity of vision and artistic promise. We’re proud to introduce the cohort for our 2025 season: Edwige Charlot, Francisco Donoso, Mariana Ramos Ortiz, Edward Steffanni, and Sergio Suárez. Across works that combine traditional printmaking processes with interdisciplinary approaches, these artists open up what Hernandez has called “portals” to imagined futures and worlds.

Throughout this process, Hernandez generously shared not only her time, but also her perspective as a

curator committed to uplifting emerging, underrepresented, or underrecognized artists. Her collaborative spirit and suggestions for improving our selection process and program design have only made New Voices stronger. We are also deeply indebted to Robin Siddall, our former Exhibitions and Programs Manager, who departed Print Center for new horizons just before this exhibition and publication came to fruition. In her three years with us, Siddall cared for the New Voices program in a way that was artist-centered and values-driven, continuously challenging how we think about the work we do.

After three seasons of this work—and especially as we feel the broad economic, political, and cultural shifts 2025 has visited upon the US—we feel an urgency to activate our resources to amplify the work of others in our field. The opportunity to create meaningful relationships is one of the things our artist cohorts seek most intently from New Voices; perhaps one of the best things we can do at Print Center is find ways of working relationally with culture-makers that are responsive, individualized, and supportive of more sustainable and viable pathways for artistic production. The New Voices program aims to meet artists at a critical point in their careers, just at the edge of some yet-unknown potential. In many ways, New Voices is also in a state of becoming. Hopefully, it always will be: never fully defined, continually un-shaping and re-shaping itself to meet the moment. As Hernandez and the artists in On Futurity remind us, another world is possible.

In this spirit, we at Print Center are using this anniversary year to reflect on how far we have come and

to speculate on where our institution may be going. We are grateful to each of our supporters, whose belief in the importance of this work allows a ground-floor nonprofit space in the commercial heart of Chelsea to take risks on a program like New Voices. We are grateful to The Wolf Kahn Foundation and The Emily Mason & Alice Trumbull Mason Foundation for establishing the Emily Mason—Wolf Kahn Artist Development Fund. Print Center New York is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature.

Print Center New York gratefully acknowledges the leadership support of our Board of Trustees, the Jordan Schnitzer Family Foundation for the Jordan Schnitzer Gallery, and the Garfield Family Foundation for the Leslie and Johanna Garfield Lobby. Finally, we extend our gratitude to the staff at Print Center New York: thank you for working toward the future with us.

Judy Hecker Executive Director

Jenn Bratovich Chief Curator

Francisco Donoso

Every Ice Will Melt, 2025

Every Wave Breaks with Longing, 2024

Francisco Donoso

From My Wrist, 2024

Francisco Donoso

Terms and Conditions, 2025

On Futurity

The future is queerness’s domain. Queerness is a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present. The here and now is a prison house. We must strive, in the face of here and now’s totalizing rendering of reality, to think and feel a then and there. Some will say that all we have are the pleasures of this moment, but we must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds.

—José Esteban Muñoz,

Cruising Utopia: The Then and There of Queer Futurity1

1 José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York: NYU Press, 2009), 1.

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In a time marked by political uncertainty and a significant shift toward conservatism, the notion of futurity—of imagining, planning, dreaming, or hoping for what comes next—feels increasingly fraught. Within the past several months, we’ve seen a retraction of the political rights of queer people, women, and immigrants, including Green Card holders, among other marginalized groups. As an institutional curator working at a museum on a university campus, it is clear to me that political speech by college professors and students alike has become risky, regardless of their immigration or citizenship status. Institutions are being disbanded, defunded, or rearticulated, including the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services. As reactionary forces tighten their grip on organizations, censor dissent, and undermine democratic norms, the future begins to look less like a horizon of possibility and more like a site of contention, co-opted by regimes seeking to preserve power through fear and exclusion.

To speak of the future is not merely an exercise in forecasting societal and technological worlds while articulating whose futures are being denied, erased, or violently reshaped; it also poses an opportunity to radically dream of what may better suit us. In this moment of uncertainty and scarcity, imagining the future becomes both an act of resistance and a necessity. We must look to the potential of imagined realities and envision worlds with endless possibilities that center networks of care and communal resistance. We ask ourselves, as future-makers, how do we dream? What worlds or potential futures do we wish to see? What can dreaming of these fantastical

worlds-to-come do for us? Pursuing potentiality is a journey we must embark on collectively.

As José Esteban Muñoz aptly puts forth in his text Cruising Utopia: The Then and There of Queer Futurity, “[t]he present is not enough. It is impoverished and toxic for queers and other people who do not feel the privilege of majoritarian belonging, normative tastes, and ‘rational’ expectations.”2 His framework posits that the future is inherently the domain of queerness. He argues that queerness is not yet here—that it exists as a horizon, an aspirational ideal that critiques the limitations of the present and gestures toward a better, more inclusive world. For Muñoz, queerness is a mode of imagining and striving for a future that resists what he calls “straight time,” or capitalist, heteronormative structures.3 By embracing a sort of utopian yearning, queer people or those who exist outside of “majoritarian belonging” refuse the here and now in favor of a transformative elsewhere. Thus, queerness becomes a radical hope, a forward-looking force that challenges stagnation and insists on the possibility of a different, more liberatory future.

What a potential tomorrow might look and feel like varies significantly between communities and across

2 Muñoz continues: “[…] Let me be clear that the idea is not simply to turn away from the present. One cannot afford such a maneuver, and if one thinks one can, one has resisted the present in favor of folly. The present must be known in relation to the alternative temporal and spatial maps provided by perception of past and future affective worlds.” Muñoz, Cruising Utopia, 27.

3 Muñoz, Cruising Utopia, 22.

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the county. On Futurity brings together five artists from different areas of the United States and Puerto Rico, each crafting bold and unique visions of potential timelines and imagined futures. Through an array of media that pushes the boundaries of traditional printmaking— itself queering the normative structures of the medium— this exhibition invites us to consider the possibilities that lie ahead with the understanding that we must not rest comfortably in the present. Each artist thus reimagines social and political landscapes in their work, urging us to dream boldly and aspire to create transformative new futures.

For Edward Steffanni, the future is indeed queerness's domain. The artist authentically occupies spaces where queer people have been historically overlooked and underrepresented, specifically traditionally “masculine” spaces, such as hunting grounds and construction sites in Middle America. This is most evident in his screenprint Through the Trees (2024) from the ongoing series God-Shaped Hole. Here, Steffanni brings to bear the hostilities that queer bodies and those outside of normative structures must endure, importantly drawing attention to those that must persist outside of metropolitan centers. He highlights the tension and parallels between the concealment of sexual identity and the sport of hunting. In the print, he reproduces a box blind—a hunting structure that is typically elevated and enclosed, offering a hidden environment for extended hunting sessions—alongside snippets of bodies in respite, seemingly taken by a trail camera. The juxtaposition of the structure human predators use to detect prey without being seen with lovers' bodies unaware of being watched

underscores the concepts of concealment and the surveillance of queer bodies in the Midwest and beyond.

Expanding upon this, Friend of Dorothy (2020–21) is a video and ceramic work in which Steffanni restages a key scene from the 1939 film The Wizard of Oz. The artist, clad in a blue and white gingham dress like the one Judy Garland’s character became known for, balances precariously on top of a fence that he also works to build. The video is housed in a ceramic frame with screenprint transfer, creating the illusion that the frame is made of pieces of found wooden fencing. The material, and the video, references Steffanni’s familial history: his father was a fence-builder and construction worker. The contrast between the “feminine” gingham dress and the “masculine” construction work gestures toward the tension inherent in existing as a queer man in rural spaces and invites reflection on what potential worlds look like for queer communities in Middle America. The act of building the frames, the fence, and allusions to construction nod to the concept of world-building—the artist explores hope for a queer future that is safe and built by queer hands. The title is a reference to the phrase “a friend of Dorothy,” historically used as a coded way for gay men to identify themselves to one another, particularly when openly expressing one’s sexuality could be dangerous or socially unacceptable. In all of these ways, Steffanni’s works meditate on the concealment and surveillance of the queer experience.

Normative structures also exist within a sense of chronology, so to dream of potential futures, we must think outside of our present and how we view time. Edwidge Charlot’s practice embraces a specific fragmentation of

Alana Hernandez

time and space grounded in Creole Caribbean Futurism, employing layered, pieced-together imagery and narratives as building blocks for new worlds. Charlot positions their practice within the margins of a queer and diasporic experience, allowing them to navigate liminal spaces to envision new realities and potential futures. Their practice—which is grounded in and expands outward from printmaking’s physical processes and conceptual concerns—explores the embodiment of abstract concepts like identity, belonging, and cultural evolution by manipulating materials, layering techniques, and merging traditional craft with digital fabrication.

vizyon grenn yo (visions of seeds) (2023) is indicative of Charlot’s practice. Several layers of organza are installed in front of each other, embodying aspects of visibility and invisibility within diasporic and queer communities. Through translucent fabrics, laser-cut forms, and light manipulation, the installation functions as a sort of metaphorical portal between physical and spiritual realms in Creole culture. Charlot digitally prints, layers, repeats, and transforms aspects of the natural world on the translucent organza and voile. Seed beads are affixed to the cloth, recalling traditional Haitian crafts. These layers of fabric suspended in space weave together ancestral memory, diasporic movement, and futuristic visions. The organza becomes a medium of both revealment and concealment—inviting us to peer through the veils of time where hybrid identities, distant pasts, and utopic desires converge.

Mariana Ramos Ortiz, too, centers their practice on the Caribbean, but they focus their project on their native Puerto Rico. In their practice—which employs

innovative printmaking techniques that exploit printmaking as a gesture of both material and conceptual impermanence—Ramos Ortiz explores qualities of the earth as they relate to realities of occupation, protection, and temporality. By meticulously screenprinting images onto compressed sand with charcoal powder (as in their intimately-scaled Outward vision [tactical exercises] / Visión al exterior [ejercicios tácticos], 2025), UV printing on sand tiles, and creating cast structures out of sand akin to multiples, the artist creates ephemeral landscapes that reflect Puerto Rico’s ongoing colonial realities.

In dar el lugar por muerto (to give up a place for dead) (2025), Ramos Ortiz includes a concave structure of compressed sand breezeblocks, a common architectural element brought to Puerto Rico by US industrialization and found across the island. Ramos Ortiz’s stacked breezeblocks are envisioned as a barricade, built to protect the fragile landscape from political and natural disasters pre- and post-Hurricane Maria in 2017. However, in places, cracks begin to show, evoking a ruin-like structure marking what has been lost, what has persisted, and what could emerge in the future. Time does not exist in a normative way for Ramos Ortiz. Instead, these fissures suggest a liminal space forged by the past yet nurturing a tomorrow of rebirth. This sense of the fragility of time is also evoked through a burnedthrough tea candle that the artist has placed inside one of the blocks’ voids. The structure itself becomes a space of transformation, a threshold between memory and future, permanence and transience.

The current political realities of the United States as a whole are also marked by deep instability

and insecurity, especially for communities of color, who continue to bear the brunt of systemic inequities. Undocumented communities, in particular, face an increasingly hostile environment, characterized by restrictive immigration policies and the criminalization of their existence. It is in this political reality that Francisco Donoso positions his practice. In his multifaceted work, which incorporates painting, drawing, printing, weaving, poetry, bookmaking, photography, and collage, he delves into what he calls an “undocumented futurity.” For the artist, this concept is a space of potentiality that is created for and by undocumented communities dreaming beyond borders, envisioning futures not confined by walls or exclusionary laws but rooted in belonging and collective care.

In the artist’s book Terms and Conditions (2025), Donoso underscores aspects of the undocumented experience by representing his personal archive of immigration paperwork. Through an abstracted lens, he transforms bureaucratic documents into a visual language that speaks to identity, displacement, and belonging. For Donoso, government forms are plentiful; the artist has needed to keep them since he first applied for DACA status in 2012. These documents are used as evidence of DACA eligibility via dates and timestamps, a form of surveillance. They include ID cards, passport photos, photographs of the artist as a child in Ecuador, and work cards, among other documents. Within the book, layers upon layers of fragmented text, official seals, and dates are deconstructed and reassembled into painterly compositions. By removing the legibility and rigidity of government-issued forms, the book invites

Alana Hernandez

reflection on the personal stories obscured by legal processes, offering a poetic resistance to the cold rigidity of migration systems.

Concepts of futurity can also be explored through the metaphor of portals that can transport us elsewhere, rather than keeping us anchored in our current political context. Portals are openings—thresholds between what was, what is, and what could be—offering an escape from the present moment in order to build something wholly new. Sergio Suárez’s deeply immersive work offers such possibilities through a printmaking and sculptural practice that implies access to radical imaginings and emergent worlds shaped not by reactive politics but by speculative timelines and cosmologies. Here, as in these other artists’ works, time is nonlinear and limitless.

Suárez’s Procedures to Ease the Fall (2023) is one such work: it is an intricately-carved, monumentally-scaled woodcut on muslin that blurs the boundary between past and present dimensions through its densely-packed imagery that rewards close looking. It comprises three eight-foot high panels, in which Suárez renders figures that seem to fall through, or be split across, dimensions. These entities also appear to float through, emerge from, and be submerged in the landscape within the picture plane. Here, binary states like light and darkness and up and down begin to be confused. Suárez includes architectural elements, such as stairs and an archway, which function as metaphysical gateways, seemingly collapsing past and present, here and there, to create futuristic visions. Through this methodology, Suárez challenges linear temporality and

Alana Hernandez

proposes entirely new cosmologies, creating a visual language that blends aspects of Mesoamerican symbology with contemporary telescopic imagery. In this way, he gestures toward possible worlds and timelines that are just beyond our perception.

Taken as a whole, the works in this exhibition open up dynamic visions of possibility. Each of these artists crafts a distinct and deeply resonant practice that stretches beyond the limitations of our fraught present moment and the normative structures that govern it. They ask us to consider not simply what tomorrow holds but who gets to shape it.

Mariana Ramos Ortiz dar el lugar por muerto (to give up a place for dead), 2025

Mariana Ramos Ortiz

Outward vision (tactical exercises) / Visión al exterior (ejercicios tácticos), 2025

Edward Steffanni

Friend of Dorothy, 2020–21

Edward Steffanni

No Surrender, 2025

Edward Steffanni

Through the Trees, 2024

Sergio Suárez

The Ecstasy of Certainty, 2019

Sergio Suárez

Procedures to Ease the Fall, 2023

Reading List

Artists in the New Voices 2025 cohort were asked to share their “personal syllabus,” a list of references that influence their practice and lives. The resulting list spans poetry, essays, music, films, and more. References are listed alphabetically by type.

Reading

Albarrán, Raquel, Roque Raquel Salas Rivera, and Val Arboniés Flores, eds.

La piel del arrecife: antología trans puertorriqueña. Translated by Ravel Machado and Arrow Lemes. (elle/elu), 2023.

Allen, Carolyn.

“Creole Then And Now: The Problem Of Definition.”

Caribbean Quarterly 44, no. 1-2 (1998): 33–49. https://doi.org/10.10 80/00086495.1998.11829569.

Antonio Vargas, Jose.

Dear America: Notes of an Undocumented Citizen. Dey Street Books, 2019.

Anzaldúa, Gloria.

“To(o) Queer the Writer—Loca, escritora y chicana.” In The Gloria Anzaldúa Reader, edited by AnaLouise Keating. Duke University Press, 2009.

Aranda-Alvarado, Rocío, and Deborah Cullen-Morales, eds. A Handbook of Latinx Art. University of California Press, 2025.

Ávila, Teresa de. Interior Castle. Edited and translated by E. Allison Peers. Dover Publications, 2007.

Bachelard, Gaston. The Poetics of Space. Translated by Maria Jolas. Penguin Classics, 2014.

Bachelard, Gaston. The Psychoanalysis of Fire. Translated by Alan C. M. Ross. Beacon Press, 1964.

Butler, Octavia E. Parable of the Sower. Four Walls Eight Windows, 1993.

Campagna, Federico. Prophetic Culture: Recreation For Adolescents. Bloomsbury Academic, 2021.

Campagna, Federico. Technic and Magic: The Reconstruction of Reality. Bloomsbury Academic, 2018.

Cecelia Delgado, Nicole. islas adyacentes = adjacent islands. Translated by Urayoán Noel. Ugly Duckling Presse, 2022.

Cheng, Jennifer S. Moon: Letters, Maps, Poems. Tarpaulin Sky Press, 2018.

Chiappe Bejar, Camilo. “Reconfiguring the Extraterritorial: History, Language, and Identity in Selected Works by Edwidge Danticat and Junot Díaz.” PhD diss., University College London, 2018. https://discovery.ucl.ac.uk/id/ eprint/10057940/.

Chung, Nicole, and Mensah Demary, eds. A Map Is Only One Story: Twenty Writers on Immigration, Family, and the Meaning of Home. Catapult, 2020.

Cornejo Villavicencio, Karla. The Undocumented Americans. Penguin Random House, 2020.

Cortázar, Julio. All Fires the Fire. Translated by Suzanne Jill Levine. New Directions, 2020.

Dávila Malavé, Ángela María. animal fiero y tierno = fierce and tender animal. Translated by Roque Raquel Salas Rivera. CENTRO Press, 2024.

Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Translated by Daniel W. Smith. University of Minnesota Press, 2005.

Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. NYU Press, 2009.

Gordon, Leah, and Joshua Jelly-Schapiro, eds.

PÒTOPRENS: The Urban Artists of Port-au-Prince. Pioneer Works Press, 2022. Exhibition catalog.

Harding, Richard. “Print as other, the future is Queer.” In Perspectives on Contemporary Printmaking: Critical Writing Since 1986, edited by Ruth Pelzer-Montada. Manchester University Press, 2018.

Harris, Shawnya, ed. Emma Amos: Color Odyssey. Georgia Museum of Art, 2021. Exhibition catalog.

Joseph, Branden W., ed. Robert Rauschenberg. The MIT Press, 2002.

Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Milkweed Editions, 2015.

Lloréns, Hilda. Making Livable Worlds: Afro-Puerto Rican Women Building Environmental Justice. University of Washington Press, 2021.

Lyotard, Jean-François. The Inhuman. Translated by Geoffrey Bennington and Rachel Bowlby. Stanford University Press, 1992.

Macfarlane, Robert.

Underland: A Deep Time Journey. W. W. Norton & Company, 2019.

Meléndez-Badillo, Jorell.

Puerto Rico: A National History. Princeton University Press, 2024.

Molesworth, Helen. Robert Gober: Tick Tock. Matthew Marks Gallery, 2019. Exhibition catalog.

Morgan, Philip D., John R. McNeill, Matthew Mulcahy, and Stuart B. Schwartz.

Sea and Land: An Environmental History of the Caribbean. Oxford University Press, 2022.

Mosaka, Tumelo, Annie Paul, and Nicollette Ramirez.

Infinite Island: Contemporary Caribbean Art. Edited by Tumelo Mosaka. Brooklyn Museum / Philip Wilson Publishers, 2007. Exhibition catalog.

Pérez González, Iberia and Natalia Viera Salgado, eds. The Brooklyn Rail. Published by Phong H. Bui. Special issue, “River Rail Puerto Rico.” October 27, 2021. https://brooklynrail.org/issues/ River_Rail_Puerto_Rico/.

Pessoa, Fernando. Poems of Fernando Pessoa. Translated by Edwin Honig. City Lights Books, 1998.

Ramos-Jordán, Katerina I. ECHOESISTEMAS /lentos cerramientos. Center for Book Arts, 2020.

Richardson, Michael, ed. Refusal of the Shadow: Surrealism and the Caribbean. Translated by Krzysztof Fijalkowski and Michael Richardson. Verso, 1996.

Sakr, Omar. The Lost Arabs. Andrews McMeel Publishing, 2020.

Salas Rivera, Roque Raquel. antes que isla es volcán = before island is volcano. Beacon Press, 2022.

Saramago, José.

Death with Interruptions. Translated by Margaret Jull Costa. Houghton Mifflin Harcourt, 2008.

Schulman, Sarah.

Let the Record Show: A Political History of ACT UP New York, 1987-1993. Farrar, Straus and Giroux, 2021.

Smith, Esther K.

How to Make Books: Fold, Cut & Stitch Your Way to a One-of-aKind Book. Potter Craft, 2007.

Smith, Patti. Just Kids. Ecco, 2010.

Vivoni Farage, Enrique, ed. Klumb: Una arquitectura de impronta social = Klumb: An Architecture of Social Concern. Editorial Universidad de Puerto Rico, 2006.

Vuong, Ocean.

On Earth We're Briefly Gorgeous. Penguin Press, 2019.

Žižek, Slavoj.

The Sublime Object of Ideology Verso, 2009.

Listening

Casanova-Burgess, Alana, host. La Brega. Season 2, episode 2, “Levittown, Where The Good Life Begins.” WNYC Studios, February 24, 2021. Podcast, 44 min., 28 sec. https://www.wnycstudios. org/podcasts/la-brega/articles/ levittown-where-good-life-begins.

Casanova-Burgess, Alana, host. La Brega. Season 2, episode 8, “‘Olas y Arenas’ The Beaches Belong to the People.” WNYC Studios, March 23, 2023. Podcast, 44 min., 41 sec. https:// www.wnycstudios.org/podcasts/ la-brega/articles/olas-y-arenasbeaches-belong-people.

Chuwi.

“Guerra.” Track 5 on Tierra. 1655917 Records DK. Released March 23, 2024.

Rasmussen, Tom.

Live Wire. Produced by Finlay Henderson and Kieran Brunt. Globe Town Records. Released October 4, 2024.

Rexach, Sylvia, with Tutti Umpierre (guitar).

“Olas y Arenas.” Track 14 on Sylvia Rexach Canta a Sylvia Rexach. Instituto de Cultura Puertorriqueña. Released June 1, 1958.

Watching

Haigh, Andrew, dir.

All of Us Strangers. Searchlight Pictures, 2023.

McKim, Chris, dir.

Wojnarowicz: F**k You F*ggot F**ker. World of Wonder, 2020.

Works in the Exhibition

Edwige Charlot

byen fon anlè chemen an nan

lawouze a, 2025

Dye sublimation print on sheer fabric, polyester, thread, and wood

Installation dimensions variable

Courtesy the artist

Etranje, 2024

Dye sublimation print on fabric, seed beads, sequined fabric, piping, thread, and tulle

60 × 77 inches

Courtesy the artist

vizyon grenn yo (visions of seeds), 2023

Dye sublimation print on organza and voile, seed beads, and laser-cut fabric

27 ½ × 37 inches

Courtesy the artist

Francisco Donoso

Every Ice Will Melt, 2025

Acrylic, ink, colored pencil, laser print, inkjet print, screenprint, cyanotype, paper, charcoal, graphite, and found envelope on canvas

48 × 56 inches

Courtesy the artist

Every Wave Breaks with Longing, 2024

Acrylic, spray paint, and laser print on mylar collaged with laser print on paper and mounted on plexiglass

17 × 14 × ½ inches

Courtesy the artist

From My Wrist, 2024

Acrylic, spray paint, and laser print on mylar, found bracelet, and thread mounted on plexiglass

17 × 14 × ½ inches

Courtesy the artist

Terms and Conditions, 2025

Acrylic, gesso, ink, laser print, screenprint, linocut, colored pencil, and spray paint on mylar and paper

8 ½ × 7 × ¼ inches

Variable edition of 10 + 2 AP

Courtesy the artist

Mariana Ramos Ortiz

dar el lugar por muerto (to give up a place for dead), 2025

Compressed sand, UV print on compressed sand, and wax candle 16 × 60 × 15 inches

Courtesy the artist

Outward vision (tactical exercises)

/ Visión al exterior (ejercicios tácticos), 2025

Screenprint on compressed sand

9 × 9 × ½ inches

Courtesy the artist

Edward Steffanni

Friend of Dorothy, 2020–21

Screenprint glaze transfer, glaze on stoneware, rusty nail, and video (color; silent; 60 min.)

15 ½ × 15 × 3 inches

Courtesy the artist

No Surrender, 2025

Screenprint

18 ½ × 15 inches

AP 1 of 2

Courtesy the artist

Through the Trees, 2024

Screenprint and inkjet print

20 × 15 inches

Edition of 15

Courtesy the artist

Sergio Suárez

The Ecstasy of Certainty, 2019

Woodblock matrix

36 × 84 inches

Courtesy the artist

Procedures to Ease the Fall, 2023

Woodcut on muslin over panel

96 × 144 inches

Courtesy the artist

Curator

Alana Hernandez is Senior Curator at the Arizona State University Art Museum. In her curatorial practice, Hernandez co-creates and develops relational projects and exhibitions that amplify intersectional and multifaceted interpretations of Latinx art. She actively engages in a curatorial and methodological model that prioritizes visibility, decentralized institutional authorship, and community-embedded agency. She works directly with constituencies to facilitate meaning-making that is generative, mobilizing, and transformative. In recent years, much of Hernandez’s curatorial work centers on Latinx art and artists working with print and craft-based mediums and investigates how the aesthetic statements thus employed are integral, often political producers of cultural consciousness. Her practice endeavors to bolster critical engagement with US Latinx art that is inclusive of Afro-Latinx, Indigenous, and queer histories, underscoring that these narratives are formative to an understanding of the histories of this country. She has recently organized artist projects with Carolina Aranibar-Fernández, Sam Frésquez, Luis Rivera Jimenez, Alejandro Macias, Sarah Zapata, Mariana Ramos Ortiz, and Estephania González. She is currently at work on a major retrospective of Carmen Lomas Garza.

Hernandez was previously Executive Director & Curator at Celebración Artística de las Américas, a.k.a. CALA Alliance. She has held curatorial positions at the Museum of Contemporary Art San Diego, La Jolla, CA; the Whitney Museum of American Art, New York City; Páramo, Guadalajara, Mexico; Hunter East Harlem Gallery, New York City; the Museum of Modern Art, New York City; the Phoenix Art Museum, Phoenix, AZ; and BRIC Arts & Media, New York City. Her writing has appeared in several exhibition catalogues and online journals. Hernandez received her MA from Hunter College of the City University of New York, where she specialized in Modern and Contemporary Latin American Art. She currently lives and works in Phoenix, AZ.

Edwige Charlot (b. 1987, Paris, France) is an artist-printmaker of Haitian ancestry. As a descendant of Ayiti, Charlot borrows from printmaking, collage, and installation to create works from a visual Creole lexicon. Their transdisciplinary approach blends mediums and techniques to map the matrix, exploring the ecology of Creolization and Queer Afro-Latinx identities within and outside the Caribbean.

Charlot's work has received support from the Rhode Island State Council on the Arts, the Interlace Grant Fund, the St. Botolph Club Foundation, and the Maine Arts Commission. Recent awards and commissions include a General Operating Support for Artists grant from the Rhode Island State Council on the Arts, a commission for the Providence Commemoration Lab, and a site-specific installation at the Fruitlands Museum as part of New England Triennial 2022.

They have been in residence at the Tides Institute & Museum of Art, BOOM Concepts, Queer.Archive.Work, and the Vermont Studio Center.

Francisco Donoso is a transnational artist, curator and educator based in New York City. He recently completed the Lower Manhattan Cultural Council Workspace Residency 2023–24, participated in La Feria: Print Media Fair organized by the Latinx Project at New York University, and curated That Feels Good! Labor as Pleasure at Second Street Gallery in Charlottesville, VA. His artist books are available through Booklyn.

Originally from Ecuador, he's been a recipient of DACA since 2012. He received his BFA from Purchase College and has participated in residencies at Wave Hill as a Van Lier Fellow, Stony Brook University, and the Bronx Museum of the Arts as an AIM Fellow, among others. His work has been exhibited throughout the United States, notably at El Museo del Barrio, the Bronx Museum of the Arts, the Children's Museum of Manhattan, SPRING/BREAK Art Show LA 2022, and the New Art Dealers Alliance’s NADA House 2023.

His work is in the collections of the Pennsylvania State University Libraries, the Capital One Art Program, and the Memorial Sloan Kettering Cancer Center. Donoso’s work has been written about in Art & Object, Hyperallergic, IMPULSE Magazine, Intervenxions, the Financial Times, and the Village Voice, among others.

Mariana Ramos Ortiz (b. 1997, Cabo Rojo, Puerto Rico) is an interdisciplinary artist whose work considers the transience of landscapes in Puerto Rico, shaped by colonial histories and the aftermath of climate disasters. Centering sand as a repository of collective memory, Ramos Ortiz employs semi-permanent printmaking and sculptural techniques to reimagine the terrain through an act of resistance against erasure.

Ramos Ortiz earned an MFA from Rhode Island School of Design and a BA from the University of Puerto Rico, Río Piedras Campus. They have participated in residencies at the Massachusetts Museum of Contemporary Art, Kala Art Institute, the Wassaic Project, Brown University, Museo El Deposito, and the Sharpe-Walentas Studio Program, among others.

They live and work between New York and Puerto Rico.

Edward Steffanni is an American artist and educator born in Ohio. In Steffanni’s interdisciplinary practice, he examines the relationships between queerness, concealment, nature, and spirituality using print media, ceramics, painting, and performance. His work has been exhibited nationally and has received awards within those exhibitions. He was a recipient of the prestigious Elizabeth Greenshields Foundation grant. Most recently, he received a research grant from Rhode Island School of Design’s SPUR Fund to study maiolica and religious imagery in Italy. His work is held in the collection of the University of Richmond Museums, among others.

Steffanni received his MFA in Printmaking from Rhode Island School of Design. He is currently a Visiting Assistant Professor of Printmaking at Hollins University (Roanoke, VA).

Sergio Suárez (b. 1995) is a Mexican-born, Atlanta-based visual artist and printmaker. His practice is informed by baroque intricacy, theological iconography, and traces of Mesoamerican material cultures. He is a BFA graduate of the Ernest G. Welch School of Art & Design, Atlanta, GA. A forthcoming solo exhibition will be presented at the Museum of Contemporary Art of Georgia, Atlanta, GA. His recent solo exhibitions were at Casa Wabi Sabino, Mexico City, Mexico; Pale Fire, Vancouver, Canada; KDR305, Miami, FL; Stove Works, Chattanooga, TN; THE END, Atlanta, GA; and whitespace, Atlanta, GA. Suárez attended the Skowhegan School of Painting and Sculpture, Madison, ME and has held residencies at Penland School of Craft, Bakersville, NC; the Hambidge Center, Rabun Gap, GA; Bemis Center for Contemporary Arts, Omaha, NE; and the Studio Artist Program at Atlanta Contemporary, Atlanta, GA. He is a recipient of the 2024/2025 Working Artist Project fellowship at the Museum of Contemporary Art of Georgia and the 2024 Atlanta Artadia Award. He lives and works in Atlanta, GA.

Board of Directors Staff

David Sabel Chair

Mary Beth Forshaw Vice Chair

Andrea Butler

Secretary

Stewart K.P. Gross

Treasurer

Anders Bergstrom

Judith K. Brodsky

Anne Coffin, Founder

Donald T. Fallati

Jennifer Farrell

Starr Figura

Clare Garfield

Mark Thomas Gibson

Joseph Goddu

Lily A. Herzan

Evelyn Lasry

Sabina Menschel

Brooke A. Minto

John Morning, Founding Chair

Martin Nash

Janice C. Oresman, Emerit

Zina Starosta-Egol

Maud Welles

Judy Hecker Executive Director

Jenn Bratovich Chief Curator

Alexa Gross External Affairs Coordinator

Tiffany Nesbit Chief Operating Officer

Alex Santana Associate Curator

Published on the occasion of the exhibition New Voices: On Futurity, Print Center New York, June 5–August 30, 2025.

Curated by Alana Hernandez with Robin Siddall

ISBN: 978-1-7341224-7-3

Edited by Jenn Bratovich

Copyedited by Haley Cheek Design by CHIPS

5: Photo by k.funmilayo aileru

9–10: Courtesy ArtsWestchester

34–40: Photo by Argenis Apolinario

Cover: Detail of Edwige Charlot, vizyon grenn yo Photo: Edwige Charlot