An Endless Meeting: Collective Process, Artistic Labor, and the Politics of Working Together
Friday, October 2, 2026 - Sunday, November 15, 2026
Opening Reception: Friday, October 2, 2026 6pm-10pm
Featuring Caroline Woolard, Kameelah Janan Rasheed, and New Red Order
Presented as part of An Endless Meeting: Collective Process, Artistic Labor, and the Politics of Working Together
Friday, October 2, 2026 - Sunday, November 15, 2026
Opening Reception: Friday, October 2, 2026 6pm-10pm
ABOUT THE EXHIBITION
An Endless Meeting: Collective Process, Artistic Labor, and the Politics of Working Together brings together work by nationally recognized artists and collectives exploring collective process as both a method and a subject. New Red Order, Kameelah Janan Rasheed, and Caroline Woolard each approach collaboration, shared knowledge, and collective action through distinct forms. New Red Order’s Give it Back: Crimes Against Realty (Office Edition) takes the form of a real estate office and recruitment station investigating gestures of land being voluntarily returned to Indigenous people. Rasheed’s Study: East Palo Alto is an evolving library collection examining the histories of Black experimental schooling and learning environments, where visitors can encounter, copy, and circulate research materials, inviting them to participate in the production and sharing of knowledge. Woolard’s Art of Gravity uses kinetic sculpture to model the relationships of balance, support, and connection that make collaboration possible. Together, the works ask how collective practices are built, sustained, shared, and put into action.Still Taking Minutes, curated by Logan Cryer, is a interview-based exhibition that explores how Philadelphia artists build, sustain and leave collectives. Cryer interviewed over 13 artists based in Philadelphia about their experience as current or past members of artist collectives. Subsequently, four Vox Members — Aaron Terry, Ollie Goss, Gregory Donnell Parker and catia colagioia — met to discuss the conflicts, triumphs and reflections shared those conversations. The resulting exhibition consists of commissioned works from these four artists that reflect some complicated truths about the history of artist collectives and the future of the DIY artist community in our city.
ABOUT THE ARTISTS
Caroline Woolard is the Director of Pollinator.coop and the Making and Being residency in upstate New York. She is the Area Head of Foundations in the Department of Art and Design at Montclair State University and the co-author of two major reports: Solidarity Not Charity (Grantmakers in the Arts, 2021) and Spirits and Logistics (Center for Cultural Innovation, 2022) and three books: Making and Being (Pioneer Works, 2019), a book for educators about interdisciplinary collaboration, co-authored with Susan Jahoda; Art, Engagement, Economy (onomatopee, 2020) a book about managing socially-engaged and public art projects; and TRADE SCHOOL: 2009-2019, a book about peer learning that Woolard catalyzed in thirty cities internationally over a decade. Woolard’s artwork has been featured twice on New York Close Up (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. https://carolinewoolard.com/
IG: https://www.instagram.com/carolinewoolard/
Astrology: Capricorn sun, Cancer moon, Sagittarius ascendant
Kameelah Janan Rasheed (b. 1985, East Palo Alto, CA) is a learner and a death doula in training. Her middle name, Janan, meaning heart and soul, comes from the Arabic trilateral root (J-N-N / جنان), evoking for me that which is unmoored, veiled, and wayward. She explores the poetics and politics of non-compliance and disobedience across written, spoken, and visual systems of communication. Across her practice at KJR Studios – an ecosystem spanning installation, publishing, pedagogy, performance, archival practice, and organizational care – she studies what regimes and institutions label “noise”: the communities, the bodies, the gestures, the utterances, and the forms of life that manage to exceed systems designed for certainty, extraction, and linearity. Recent solo exhibitions include High Line Art (2026), Henry Art Gallery (2025), REDCAT (2024), KW Institute of Contemporary Art (2023), and Art Institute of Chicago (2023) Rasheed is the recipient of several honors, including a Guggenheim Fellowship (2021), a Creative Capital Award (2022), Schering Stiftung Award for Artistic Research (2022), High Desert Test Sites Fellowship at Joshua Tree (2024), and VIA Art Production Grant (2025) among others.
New Red Order (NRO) is a public secret society with a rotating and expanding cast, facilitated by core contributors Adam Khalil, Zack Khalil, and Jackson Polys. Working with an interdisciplinary network of Informants, the NRO co-produces video, performance, and installation works that confront desires for indigeneity and obstacles to Indigenous growth and agency. New Red Order has exhibited work with Art Sonje; Artists Space; Boston Public Art Triennial, Counterpublic; Creative Time; HKW; Kunsthal Charlottenborg; MoMA; Museum of Contemporary Art Detroit; Redline Contemporary Art Center; Sharjah Biennial; and the Whitney Museum; among other institutions.
About the Curator
Maia Chao is an artist making anthropological work across performance, video, sculpture, and public practice. She has been commissioned by the Whitney Museum of American Art, Hirshhorn Museum & Sculpture Garden, Times Square Arts, and The Shed. Additional projects have been presented at the RISD Museum, Bronx Museum, Mural Arts Philadelphia, Boston Center for the Arts, Smack Mellon, and Oregon Contemporary. Named a Pew Fellow in 2022, she attended Skowhegan School of Painting and Sculpture in 2023. For the 2026 Whitney Biennial, Chao presented BEING MOVED, a new performance commission. She is currently a 2026 United States Artists Fellow.
She is full-time faculty in Interdisciplinary Sculpture at the Maryland Institute College of Art (MICA) in Baltimore and resides in Philadelphia.
About An Endless Meeting
An Endless Meeting: Collective Process, Artistic Labor, and the Politics of Working Together is a multi-pronged project taking place this fall at Vox Populi that activates collective process as subject, form, and method. Spanning exhibitions, a curatorial residency, public programs, and a print publication, the project explores the politics of collectivity, inviting broad publics to reflect on their own experiences of collaboration. An Endless Meeting will be presented as part of Collective Futures, a citywide initiative bringing together artist-run and community-based organizations to examine collective cultural production.
An Endless Meeting: Collective Process, Artistic Labor, and the Politics of Working Together has been supported by The Pew Center for Arts & Heritage.
About The Pew Center for Arts & Heritage
The Pew Center for Arts & Heritage is a multidisciplinary grantmaker and hub for knowledge-sharing, funded by The Pew Charitable Trusts, and dedicated to fostering a vibrant cultural community in Greater Philadelphia. The Center invests in ambitious, imaginative, and catalytic work that showcases the region’s cultural vitality and enhances public life, and engages in an exchange of ideas concerning artistic and interpretive practice with a broad network of cultural practitioners and leaders.
