Sean Glover (A '06)

The Observers (2012-Present) 

Cardboard sonotube, conduit, angle iron, coldworked parabolic glass, eyepiece, wheels, bolts, plywood, notebooks, inverted marking paint 


All day, tour guide David E. Curtis from 2:00–4:00 

The Observers is a roving geodesic structure that houses an eight-inch Dobsonian telescope. Viewers are encouraged to record what they experience in notebooks, climb onto the geodesic structure, and/or participate in the conversation about the happenings on site and beyond. David E. Curtis will work with the artist to help facilitate the experience as a tour guide. The Observers can be experienced during the day and at night. We have looked to the night sky for many ages. Navigators use the stars to determine their direction. Astrologers look to the stars in anticipation of our future. The people, objects, and structures that we encounter are a system of points against the backdrop of our daily experiences and interactions. What can the slow and deliberate reveal in relation to the constellations of the everyday? 

Sean Glover is a Boston based artist who was born in San Diego, CA. In his artwork, he uses materials and processes (both new and old) to investigate the histories of objects, labor, and technology. 

Sean has been a fresco instructor at Skowhegan School of Painting and Sculpture since 2008, where he had attended as a participant in 2003. In 2005, he was a recipient of a Traveling Scholars award at the SMFA in Boston, which he used to live in Florence, Italy and San Francisco, California. In 2011, Sean received his MFA at Carnegie Mellon University in Pittsburgh, PA. 

John C Gonzalez (A ’08) & Thomas Willis

Adventure Dept. on the Shores of Monuments


Adventure Department seeks to provide a curated experiential encounter with its audience during our interactive performance. We three performers have a history of working together on art works, role-play, and games, and plan to merge our collective interests into a new project at Socrates. 

At the core of this performance is the creation and maintenance of a cognitive social space that is unstructured. During the event the performers will be dressed in makeshift costume and shift between roles that will facilitate a context for dialogue. Utilizing adlib and impromptu strategies to engage with visitors, the performers will take on roles in support of a playful unreality where things are changeable and arbitrary and incorporate elements of real and unreal. 

Working in painting, sculpture, and performance, John C Gonzalez is interested in processes of collabo- ration within the creation, reading, and dissemination of artworks. He received an MFA from the School of the Museum of Fine Arts, Boston and a BFA from Rhode Island School of Design. He has attended artist residencies at Vermont Studio Center, MacDowell Colony, Jentel, Wassaic Project, and most recently at Bellas Artes (Bataan, Philippines.) Recent exhibitions include Actions Kits at Mills Gallery in Boston, MA and Body Meets City, a public performance in Brooklyn NY, and Secret Garden at Le Petite Versailles in New York, NY. He is based in Brooklyn NY. 


Thomas Willis is a Boston-based artist originally from Las Vegas, NV. Willis received his BFA in painting and drawing from the University of Nevada, Las Vegas in 2009. Strongly inspired by his hometown, Willis creates painting-derived projects that range from selling commercial artworks through his conceptual brand “Retrofit Painting,” to sleeping inside a painting for 8 months, to lighting paintings on fire, to even sometimes playfully hiding his paintings from plain sight. His art has shown in numerous exhibitions across the United States, with works in institutions such as the Luo Ruvo Center for Brain Health, Bentley University, deCordova Museum, and the Cosmopolitan of Las Vegas. Willis currently works for the Art Department at Wellesley College and has a studio at the Dorchester Art Project in the neighborhood of Field’s Corner, Boston. 

Andrew Lafarge Hamill (A ’14)


I will be performing a ritual influenced by the psychologist Erik Erikson’s theory of the stages of develop- ment of self identity throughout a human lifespan. 

Andrew LaFarge Hamill was born in and lives in New York City. He teaches a sculpture class at Rutgers University in Camden, NJ. He received his MFA from The State University of New York at New Paltz in 2013 and his BA in anthropology from Bates College in Lewiston, ME in 2005. He was a Resident at the Skowhegan School of Painting and Sculpture in 2014. 

Elizabeth Harney (A ’14)

The Pentagon

All Day 

“Defensive architecture is instrumental, active not passive - waiting, watching, acting, reacting. It is not to dwell within, but to take on.”- Paul Virilio Bunker Archeology

Boundaries, whether between individuals or territories, provoke desire and fear as they serve simulta- neously to protect and intimidate. While paying attention to regulatory architecture in public spaces, I was particularly struck by the function of string-fences as they gracefully reify rules rather than enforce them. Mimicking this form, red chalk-line will be set up as ramparts around resting spaces at Socrates Sculpture park. Viewers are invited to carefully navigate through these boundaries and recline within the protected space. 

Elizabeth Harney was born in 1988 on a military base in Enid, Oklahoma. She grew up on bases all across the nation before finally settling in New Jersey. As someone who spent her high school years in Jr ROTC dreaming of becoming a fighter pilot, she is still seduced by the emotional pulls of nationalism and America’s paternalistic promise of safety. Elizabeth Harney uses her work to explore how protection functions within relationships and society as a universal justification for violence. In 2013 she received her BFA from New Jersey City University and in 2014 she was a participant at Skowhegan School of Painting and Drawing. She currently lives and works in Brooklyn, NY. 

Erin Henry (A '15)

Carrots Peeled

Potatoes Peeled

pile of potatoes

All Day 

Spiritual guidance/counseling using the vegetable matter technique to facilitate breakdown in the self-object boundary. 

You may expect your body image to be durable and permanent - this is your sense of bodily self-identi- fication. How do you distinguish what’s contained within versus what’s beyond your familiar bodily shell? 

There is a great transformation happening within you right now. Trust that your life history has prepared you for this momentous change. 

Little Sugar (Little Saka Sugar) 

Woody Gunthrie

“Hee, hee hee, my little sack of ‘taters
So pretty, pretty, pretty, I could eat your toes. 

Jiggle, jiggle, jiggle jiggle, pickle, pickle, pickle,pickle, Little sack of sugar I could eat you up” 

Born 1979 Sugarland, Texas. Lives and works in New York. MFA 2014 Yale University School of Art, Sculpture. BFA 2001 School of the Art Institute of Chicago. What has happened here? What I know: I’m pretty sure that I have hands, as they’re right in front of my face. I can only assume that I have a head - this is, after all, where I seem to be located. Funny to be most convinced of this point in particular because really, there’s nothing here but a blind spot. 

Madeline Hollander (A '15)

Heimlich Redux


Madeline Hollander’s performance “Heimlich Redux” presents movement sequences that explore nota- tion systems and graphical instruction sets from various “Choking Victim”, Heimlich Maneuver and CPR posters displayed in local food service establishments around NY. Hollander uses these government mandated posters as choreographic scores for creating a contemporary square-dance that exposes the irony and challenges of effectively conveying physical movement techniques to a general public, in this case a critical life-saving choreography. The performance transforms this grim, albeit standardized, emergency procedure into a celebratory social dance as these gestures of revival are abstracted and re- peated in unison facing each cardinal direction. Performed by Jeremy Pheiffer, Marielis Garcia, Madeline Hollander, Asami Tomida, and Andrew Champlin. 

Madeline Hollander is a New York-based artist whose work extends choreography beyond the human form and explores emerging body languages and their relationship to technology and everyday ritual. Hollander has presented works at Untitled Art Fair 2015, Miami; Luxembourg & Dayan Gallery, NY; the Sculpture Center, NY; Jack Hanley Gallery, NY; Tina Kim Gallery, NY; Torrance Shipman Gallery, NY; and Human Resources, LA. She has danced professionally with Los Angeles Ballet, CA, and Angel Corella Ballet, Madrid, and attended artist residencies at Skowhegan School of Painting & Sculpture, Maine; Choreographic-Coding Labs, Digital Media Arts, UCLA; & the Fountainhead Studios, Miami, FL. 

Baseera Khan (A '14)

Planet Fitness


There is a 20-minute set of songs that I listen to every Monday and Wednesday while running on a treadmill at my local gym. This ritual was manufactured by a need to manage my anxieties. It is a ritual that I came to understand has the power to minimize my anxieties. While running and listening I see past the TV monitors around me into a range of hidden frames and images – I migrate back to the 1960’s on the coastal line of Algeria, I transport me sailing the first ships of the East Indian Trade, I am running in place in front of the St. Louis Arch, I’m running from the cops, I’m running toward a field of cats. Where do you see me? Clip me into where you imagine me. 

Request from the audience:

1. Send me any .mp4 .mov .jpeg or .png image/images/video of your choice. I will use the images in the background of my performance when I chroma-key out the green screen background for my final documentation. I will list you as collaborator in the credits of this work.

Email your files to:

2. If you know how to key out and replace the background on your own and you'd rather do this, send me your files and I will add your footage/images into my final documentation. I will list you as a collaborator in the credits of this work.

Email your files to:


Baseera Khan is a New York based artist. Her visual and written work focuses on performing visualized patterns of emigration and exile that are shaped by economic, social, and political changes through- out the world with a special interest in decolonization practices. She was an artist-in-residence at the Skowhegan School of Painting and Sculpture, Artist Residency, Skowhegan, Maine (2014). She was an International Fellow in Israel/Palestine through Apexart, New York City (2015) and an artist in residence at Process Space LMCC (2015). Khan is currently part-time faculty at Parsons, The New School for Design. She received her M.F.A. at Cornell University (2012) and B.F.A from the University of North Texas (2005). 

Neven Lochhead (A '15)

Socratic Monologue (Refrain) 


In late August 1883, the earth’s atmosphere was ringing like a bell. Krakatoa had erupted to produce a sonic event so loud that it reverberated around the planet for days. Thousands of miles away from the volcano, the sound was heard with total clarity. Witnesses reported it returning at regular intervals as it circled the earth with an increasing level of abstraction. For many, the source of the sound remained unknown. Speculation rose amongst different communities: some were convinced that the Day of Judgment had arrived, others fled their homes fearing an incoming attack, while fleets of boats set out in search of an imagined vessel in distress. “Constant peals of thunder, but without any lightning. The last reports made us tremble all over.” 

Neven Lochhead is a Canadian artist from Kingston, Ontario, who works in video, sound, performance and music. During his undergraduate degree in medieval literature, he was music manager of a commu- nity radio station. While fulfilling the expected coordination tasks that are required of a station manager, he also hosted regular midnight radio shows. It was there, in the unregulated broadcast zones, that Lochhead began to embrace structural absurdity: one night he fumbled on air with a pile of disks for an hour before finding “the right song to play.” 

Jim Leach (A '15)

Doing the Wrong Thing


Two performers, referred to here as Author and Assistant, approach a platform. Sitting on the platform are various tools, a roll of sandpaper, wood round stock and a 27” replica Venus of Arles. 

The Author, using gestures, instructs the Assistant to begin his task: to tape down a circular track of sandpaper on the platform’s surface. The Author then begins constructing a “tool” that will roughly re- semble a barrow or plow consisting of the Venus figure with two long handles. 

When completed, the Author passes the built object to the Assistant and instructs the Assistant to begin pushing the “tool” around the track. Through this action, the sandpaper wears away at the Venus figure. 

The Assistant repeats, “What am I doing? Why am I doing this? Why would I do this?” 

The Author determines when the “work” is finished and gestures for the Assistant to stop. The Assistant stands still for a moment before throwing the handles to the ground. 

Jim Leach received a BFA from Kent State University in 2011, and an MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art where he was the recipient of the 2012-14 Rinehart Fellowship. He recently attended the Skowhegan School of Painting and Sculpture, and is a current Hamiltonian Fellow, Washington DC. His work has been exhibited in various solo and group exhibitions, including shows at the Baltimore Museum of Art, Baltimore; The Gowanus Loft, New York; and Vox Populi, Philadelphia. Leach has been reviewed in several periodicals including Art F City and Baltimore’s BmoreArt 

Katherine Mangiardi (A '07)

Christina Rising

4:30, 5:30

Reenacting Andrew Wyeth’s Christina’s World I will crawl through the grass wearing a dress I create from remnants of cloth from my home and pieces passed down from prior generations.  As I crawl, I will attempt to get up over and over again until at last I run out of view.  The performance will evoke a spirit that perserveres over defeat and multiple failures until it is at last rises above all obstacles and becomes free.

Katherine Mangiardi is an artist and figure-skating coach based in New York.  She has worked within various mediums to explore the extension, displacement and diffusion of the body in elaborately skilled activities such as lacework and figure skating.  She addresses overlooked or undervalued female originality in the historic textile industry and the importance of dying art forms such as figures (elaborate tracings on ice once integral to the sport of figure-skating). Her work emphasizes the connection of the mind and body as well as the repetition and acquisition of skill over time. 

Katherine attended Skowhegan in 2007 and received an MFA from RISD in 2008. In 2009 Mangiardi was awarded the W.K. Rose Fellowship. Solo exhibitions include, Paintings, The Butler Institute of American Art, Youngstown, Ohio, and Reflected Absence, The Hunterdon Museum of Art, Clinton, NJ.

Sarah Mattes (A '15)

Back 4 Ground

All Day 

‘Back 4 Ground’ is a sequential performance of presentation and exchange. The piece will move through five sequences: City, Mimicry, Navigation, Description, and Talk. How does a map get drawn in space through repetition and navigation? How does this map look with its coordinates removed? How does one’s description of a thing affect another’s direct experience of that thing? Can structures on a grand scale be held and felt? How is memory altered by reenactment? Descriptive gestures, the pacing with which one engages space and an object, rituals of comfort and discomfort are under consideration in this piece. The performer will roam the park, sequencing through direct engagement and allowance, playfully empowered as background and accent to the park’s installation and expanse. 

Sarah Mattes is a multidisciplinary artist working with ideas of intimacy, exchange and memory through the investigation of common gestures and personal narrative. She received her MFA from Mason Gross School of the Arts at Rutgers University in 2015 and has recently shown and performed work at Movement Research at the Judson Church, New York; 356 Mission, Los Angeles; Regina Rex, New York; Stene Projects, Stockholm; and Blackston, New York. 

Holli McEntegart (A '14)

Lighting cauldrons of speculation (Oh my god, Maggie!) (2015) 

Wood, brass, rock salt, spell, digital ink jet photograph.

Installation all day,
Performance at dawn. 

An invisible web of energy crisscrosses the terrestrial landscape much like the human acupuncture meridians define the body’s energy field in an intricate and precise matrix. Where these lines intersect, an energy eddy or vortex occurs, these are the “earth chakras” or power places on the earth’s surface. These power places are electrical switch points or energy transducers spread around the planet, all intersecting and tuned to particular electromagnetic frequencies like a crystal radio. 

Concerned with the collection and storage of energy, a protection spell is cast over the ground at Socrates Sculpture Park. A ritual performed, healing energy collected and channelled into the image of a 12 year old girl and her unicorn. I mark, measure and merge the distances between the virtual and the real by visualising the intangible. 


Holli McEntegart (b. NZ 1980) is a multidisciplinary visual artist whose work maps an engagement with the intersections of real and imagined experience using performance, video, drawing and instal- lation. Narrative, site-specific inhabitations and varied esoteric processes are explored to better under- stand her encounters with fact, fiction, myths and histories and as a means of unearthing (im)possible or (im)probable negotiations between logic and belief. Projects are connected by mysterious and magical trajectories that have an indeterminate beginning and ending. It is this experience of not knowing that connects us with the concept of the transcendent and unknowable. McEntegart holds a Bachelor of Visual Arts in Photography and a Masters of Art & Design with First class honours from Auckland University of Technology. She currently lives and works in Brooklyn, NY. 

Joiri Minaya (A '13)


All Day 

Containers is an exploration of the superficiality with which the identity of Caribbean women is often diluted into a lush idealized landscape, or how the landscape is feminized, or how women and landscape are interchangeable in the way they have been portrayed as colonized, domesticated and contained. 

Containers oscillates between ideas of agency and impairment within the construction of the “tropical” as a fantasy of leisure, pleasure and exoticness, and the presence of the female body within this fantasy. Wearing bodysuits made out of fabric with designs that essentialize elements of tropical landscape, several women hold poses that may be read as expressing an array of states and ideas, from availability, display, power (or powerlessness), to resignation and idleness. Through the presence of gaze and speech in some instances, or the lack thereof in other moments, these contained figures will have a dialogue with the audience and the landscape of Socrates Sculpture Park. Visually incongruous yet sometimes cam- ouflaged within this landscape, the tropical patterns in the bodysuits mimic the fluctuating contradictions in the speech, pose and gaze of each of these subjects. 

Joiri Minaya (1990) is a multi-disciplinary artist whose work deals with identity, otherness, self-con- sciousness and displacement. Her work navigates binaries in search of in-betweenness, investigating the female body within constructions of identity, social space and hierarchies. Born in New York, U.S, she grew up in the Dominican Republic. Minaya graduated from the Escuela Nacional de Artes Visuales (ENAV) in Santo Domingo, D. R. in 2009, the Altos de Chavón School of Design in La Romana, D.R. in 2011 and Parsons the New School for Design in 2013. 

Jef Scharf (A '00)

Drawings of Something

All Day 

A drawing of something not of anything. Ask for a drawing created by a genuine artist. You suggest content and watch him channel muses, be with art and create. Bask in the results for as long as you would like by taking the artifact with you. 

Jef Scharf is from Novelty and was born in December. He makes drawings in the morning with the heir, films, performs and reads books. He went to the C.I.A., started Kayrock as Wolfy, slept in a lot of hotel rooms with Reed Anderson, and has been the fax machine to the ideas of Maya Hayuk. 

Rudy Shepherd (A '00)

Healing Music for a Troubled World


Rudy Shepherd’s work explores the nature of evil through the mediums of painting, drawing and sculpture. This exploration involves investigations into the lives of criminals and victims of crime. He explores the complexity of these stories and the grey areas between innocence and guilt in a series of paintings and drawings of both the criminals and the victims, making no visual distinctions between the two. Going along with these portraits is a series of sculptures called the Black Rock Negative Energy Absorbers. They are a group of sculptures meant to remove negative energy from people allowing them to respond to life with the more positive aspects of their personality. 

For SkowheganPERFORMS Shepherd will present a Healing session for the park and its inhabitants. This will include Rudy Shepherd (as the Healer) on midi controller and Theremin, Brian Alfred (Skowhegan Alumni ’99) on guitar and Elia Einhorn (Scotland Yard Gospel Choir, Fashion Brigade) on keyboards, performing healing music as the Black Rock Negative Energy Absorbers. 

This will be the first performance of its kind, previously Rudy has done similar performances as Induction Ceremonies for his own public sculptures and not been the one playing the music, so this will be an exciting new stand alone performance sans sculpture that he is very excited to share with the public. 

Rudy Shepherd received a BS in Biology and Studio Art from Wake Forest University and an MFA in Sculpture from the School of Art Institute of Chicago. He has been in group exhibitions at P.S.1 Contemporary Art Center, NY, The Studio Museum of Harlem, NY, Bronx Museum of Art, NY, Institute of Contemporary Art, Boston, Art in General, NY, Triple Candie, NY, Socrates Sculpture Park, NY, Cheekwood Museum of Art, TN, Contemporary Museum, Baltimore, MD, Aldrich Museum of Contemporary Art, CT, Southeastern Center of Contemporary Art, NC, Museum of Science and Industry, Chicago, IL, Tart Gallery, San Francisco, CA, Analix Forever Gallery, Geneva, Switzerland and solo exhibitions at Mixed Greens Gallery, NY, Regina Miller Gallery, Carnegie Mellon University, Pittsburgh, PA. He has been awarded Artist in Residence at PS1 National/International Studio Program, P.S. 1 Contemporary Art Center, Long Island City, NY, Artist in Residence Visual + Harlem, Jacob Lawrence Institute for the Visual Arts, New York, NY and Emerging Artist Fellowship, Socrates Sculpture Park, Long Island City, NY, Artist in Residence, Location One, NY and Process Space Artist in Residence Program Governors Island, Lower Manhattan Cultural Council, New York, NY. 

Kuldeep Singh (A '14)



The land, the body and the flow. The tightness and convolution, the ease and repetition. A cycle, many cycles. Water, milk, honey. A vision of polar liminal spaces. Of macro and the micro. The contrast and the detail, the contrast and the abstraction. Tiers. 

Painter, object maker, and performer Kuldeep Singh is a trans-disciplinary artist interested in the idea of storytelling and narratives beyond political boundaries. His practice is primarily informed by Indian Aesthetics of Hindu era of first millennium AD. The open attitude towards gender, lifestyle and expression are the core components of this period that he deeply admires. Triggering a deep relation between the sensual and the spiritual, his projects act as romantic laboratories investigating kinship to performance, moving image and installation. 


As an intensively trained Indian classical dancer of Odissi repertoire, he holds a profound understanding of sound, space and movement. He reinvents myths with components in acting, sound and image making through this vast system. 

Michael K Taylor (A '12)

the Alchemists and the Archives (2016)

All Day

Minerals transformed into glass, energy transformed into light, wood transformed into paper, humans transformed into . . .

A performance piece enacting the creation of an archive system transforming text and images into mythical data and energy cells used for time/dimensional travel. This work is part of a series initially created during Skowhegan ‘12 where Taylor created an installation using discarded objects, texts from the library, and art work being archived from around the Skowhegan campus.  The text source materials for this performance will merge Skowhegan and Socrates histories as content. This animation begins with information input from a source, processed through reading, re-articulated through writing, and preserved through coded transformation. The content will be retrieved and made accessible in future performances and a yet to be determined final shared format.   

Michael K. Taylor is an artist whose practice included performance, visual art, poetry, and curation. Born in Louisiana, he graduated from the Houston’s HSPVA University of Houston and recieved his Masters from Tyler School of Art.He has completed a number of residencies and workshops—such as those at the Virginia Center for the Creative Arts (2014); Ox-Bow School of Ar t(2013); Atlantic Center for the Arts.  His solo and group exhibitions include galleries, museums, and other venues for the arts in Texas, Florida, New York, Philadelphia, and Nairobi, Kenya.

Clare Torina (A '12)

A Big and Brief Revival

All Day 

For her performance, Clare Torina has constructed large-scale pants modeled after the pair her grand- father wore in his later days. Clare was conceived on the night he died, and the possibility of grand- father-granddaughter reincarnation is often entertained during family gatherings. With her own body concealed inside, animating the pants becomes an exercise in rebirth. Grandpa must learn to walk again. Like a Frankenstein, the movements are dicey, graceless, and unnerving. 

Clare Torina is an interdisciplinary artist living and working in New York. In 2012, she received an MFA from the School of the Art Institute of Chicago. Her work has been included in numerous solo and group exhibitions in New York, Chicago, Los Angeles, and Memphis. 

Felipe Steinberg (A '14)


The handshake is thought by some to have originated as a gesture of peace by demonstrating that the hand holds no weapon. As widely known, but not officially advertised in the facade, “happy endings” are offered in many massages parlors in New York City. During the event, for one hour, a massage therapist will be at the entrance of the Socrates Sculpture Park shaking hands with every male entering the park. The therapist works at a massage parlor, located at 28 Liberty Street in Manhattan. 

Felipe Steinberg (b. 1986) in Campinas, Brazil. He received an M.A. in Studio Art from New York University in 2012 and is currently a M.F.A candidate at the School of the Art Institute of Chicago (2016). His works have been shown in Anthology Film Archives (New York), Grimm Museum (Berlin), SESC (Ribeirão Preto, Brazil) and Daegu Photo Biennale (Daegu, South Korea) among others. In 2014, he received three prizes: the acquisition prize from the “XIII Salão Nacional de Artes de Itajaí” (Brazil), NYU “Berlin Culture Brewery Prize” (USA) and SESC “Mostra de Arte da Juventude do SESC Ribeirão Preto” in Brazil. 

Deborah Wasserman (A '98)

HEAVY LOAD: Washing soiled laundry In Public

All Day 

This performance spins the drudgery of everyday laundry. Highlighting the otherwise invisible labor of mothers, caretakers, and domestic help, her performance raises questions about class, labor, gender, modernity, and privilege. 

Wasserman speaks about the process of washing away stained and distressed fabrics not only as a physical task but also as a cleansing ritual, discharging one’s feelings of being ‘stained’. The artist seeks to point to the transformational power of women, who often bring compassion to their work and in doing so, cultivate a more humanitarian society. 

Taking the idea of hard work to an extreme, the artist will challenge her own physical endurance by carrying heavy bags of soiled clothing, lugging water back forth and scrubbing piles of garments and house linens. Utilizing the geography of Socrates, the artist will perform a cycle of washing, drying and folding. The cycle will repeat throughout other locations in the park, a four-hour slice of the eternal cleaning that is part of women's motherly and domestic duties throughout the world.

Born in Sao Paulo, Brazil and raised in Israel, Deborah Wasserman is currently living and working in Queens, NYC. She is a graduate of the California Institute of the Arts and the Whitney Museum Independent Study Program. Deborah Wasserman has received grants from the Experimental Television Center, Aljira Center for the Arts and the America-Israel cultural foundation. Her work has been exhibited in the USA, Brazil, the Netherlands, Germany and Israel, in such venues as The Bronx Museum of the Arts, The Tel Aviv Museum of the Arts, The World Wide Video Festival, White Columns, Gale Gates Gallery, GenArt and A.I.R gallery.