In the exhibition Familiar Like Skin at Transmitter Gallery, curators Sara Megdari and Lila Nazemian have placed the works and practices of two emerging New York-based artists, Anahita Bagheri and Bayan Kiwan, in an intimate dialogue. Through six new works, the exhibition suggests a pictorial and sculptural exchange about renewal, life cycles, patterns, decoration, interiority, and female agency.

Visual Implications, curated by Ashley Ouderkirk, engages with these interrelated themes of visual consumption, perception, patterns of seeing, and the importance of visual literacy by presenting the work of three emerging artists: Charles Clary, Nanse Kawashima, and Cassandra Zampini.

Interweaving archaeological evidence with speculative fiction, Cecilia Dougherty’s web-based drama Time Before Memory (2019) interrogates the origins of our species and prompts reflection on its present state.

In 1971, philosopher John Rawls (1921-2002) published A Theory of Justice. One of the most significant tracts from this seminal text involves a now-famous thought experiment about “the original position.” Rawls maintained that our own biases, prejudices, special interests, and privileges blind us from objectively seeing justice.