My curatorial practice is rooted in questioning how cultural institutions are entangled in systems of surveillance, exclusion, and control that extend far beyond prison walls. This portfolio develops from my dissertation Against the Carceral Frame: Curatorial Practice and the Cultural Politics of Incarceration, which argues that curating is never neutral and examines how exhibitions risk mirroring punitive governance while also offering possibilities for refusal and resistance.

Drawing on abolitionist theory, Black radical thought, and infrastructural critique, my work explores how the “carceral frame” shapes cultural production and asks how curators might intervene otherwise. Through case studies such as Marking Time (MoMA PS1), Koestler Arts, and Walls Turned Sideways (CAM Houston), I have traced the contradictions of exhibiting incarcerated voices within institutions complicit in racial capitalism.

This portfolio translates those insights into curatorial strategies that foreground opacity, community collaboration, and infrastructural reimagination. It presents both research and speculative projects, holding open tensions between visibility and exploitation, critique and complicity. Rather than offering solutions, my practice proposes frameworks for acting against the carceral while imagining abolitionist cultural futures. At its core, this work insists that curatorial practice must be accountable, political, and oriented toward making life more possible.