Megan Kincaid is an art historian and curator based in New York. Kincaid is a scholar of twentieth-century modernism with an emphasis on the history of abstraction in the Americas. In particular, her research examines the exchanges of artistic ideas and styles between Latin America, Europe, and the United States through mobility studies, centering the circulation of bodies, objects, and publications across artistic centers. Her doctoral dissertation, “Imaginative Abstraction: Painting and Possibility in Mexico, 1930-1950,” provided an account of abstract tendencies in the country after the heyday of Mexican muralism and as a crystallization of a revolutionary aesthetic ideology fueled by the political context and the influx of refugees and exiles.  
 
Kincaid has served as an Adjunct Instructor at New York University, where she taught on modern art and method. She has lectured widely, including conference and research presentations at The Americas Society, The Courtauld, The Frick, The Museum of Modern Art, and San Francisco Museum of Modern Art. Her scholarship has been published by the Museum of Modern Art, Duke University Press, New York University, amongst others, and she has contributed art criticism to Gagosian Quarterly, Purple Magazine, The Brooklyn Rail, and Vogue México. Kincaid regularly curates exhibitions of historic and contemporary artists, such as José Antonio Fernández-Muro: Geometry in Transfer (Institute for Studies on Latin American Art), Cauleen Smith, H-E-L-L-O: To Do All at Once (New York University), and Fanny Sanín’s New York (New York University). 

She received a PhD in Art History from the Institute of Fine Arts, New York University in 2024 and a BA from Columbia University in 2017. At present, Kincaid is at work on a book on abstraction in Mexico City, an exhibition and digital archive that traces the evolution of Chicane muralism in Los Angeles, as well as a retrospective exhibition in collaboration with Aperture.