Firelei Báez, a 2004 alumna of the School of Art, will be in conversation artist Jeffrey Gibson and Executive Director & curator Candice Hopkins for a discussion touching on art, the cosmos, nature, world building, and more. The program is in conjunction with Feet squelching on wet grass, nourished by uncertainty, Firelei Báez's first exhibition with Hauser & Wirth in New York.

Registration is required here for this free event co-presented with Hauser & Wirth.

On the heels of two major solo museum exhibitions in 2025, Firelei Báez’s exhibition at Hauser & Wirth's 22nd street gallery in Chelsea unveils an ambitious, enveloping constellation of radiant new paintings and works on paper, along with new large-scale bronze sculptures. Across two floors, Báez extends her ongoing engagement with colonial legacies and the natural, spiritual and cosmic reverberations of the African diaspora. A storyteller and world maker, Báez works within the tradition of history painting while quietly undoing the very conventions through which histories are fixed and made legible. In this presentation, she subtly shifts her focus away from the discernible, if chimerical, figures that occupy her previous bodies of work to achieve a more atmospheric sensibility, one that invites a broader, deeper understanding of how bodies and nature shape our experience of being in the world. 

Firelei Báez draws upon African diasporic histories, reimagining them to explore new possibilities for the future. Since 2024, Báez has been the subject of her first major U.S. survey, organized by the Institute of Contemporary Art, Boston, and presented at the Vancouver Art Gallery and the Des Moines Art Center, before traveling to the Museum of Contemporary Art Chicago, where it remains on view through May 2026. Her work has been featured in major international exhibitions, including The Milk of Dreams at the 59th Venice Biennale (2022), curated by Cecilia Alemani, and the inaugural installation of the ICA Watershed in Boston (2021). Recent solo exhibitions have been held at the Louisiana Museum of Modern Art, Humlebæk; Kunstinstituut Melly (formerly Witte de With Center for Contemporary Art), Rotterdam; The Museum of Modern Art, New York; The Studio Museum in Harlem; The Andy Warhol Museum, Pittsburgh; and Pérez Art Museum Miami. Báez has participated in numerous group exhibitions at institutions such as the National Gallery of Art, Washington, DC; the Art Gallery of Ontario, Toronto; and the Cleveland Museum of Art. She is the recipient of several major awards, including the Herb Alpert Award in the Arts (2020), the Artes Mundi Prize (2021), the Philip Guston Rome Prize (2021), and The Cooper Union President’s Citation (2022). Her work is held in prominent public and private collections worldwide, including the Baltimore Museum of Art; Crystal Bridges Museum of American Art; The Solomon R. Guggenheim Museum; Tate, London; and The Metropolitan Museum of Art among others. Báez received an M.F.A. from Hunter College, a B.F.A. from The Cooper Union School of Art, and attended the Skowhegan School of Painting and Sculpture. 

Jeffrey Gibson grew up in major urban centers in the United States, Germany, and Korea, where he absorbed the transgressive soundtrack of the 1980s through limited access to MTV. Gibson graduated from the School of the Art Institute of Chicago in 1995 and received a Master of Arts in painting at the Royal College of Art, London, in 1998. While in Chicago he also worked as a research assistant on the Native American Graves Protection and Repatriation Act (NAGPRA) for the Field Museum, a formative experience that fostered an ongoing interest in questions of ownership and notions of cultural translation. Though trained as a painter, Gibson began incorporating materials and techniques that deliberately reference his heritage—such as raw hides and bead work—around 2010. A major turning point in his career, in 2012 he presented one becomes the other, his first solo exhibition of sculpture and video, at Participant Inc. Sculpture, moving image, and sound have since become an integral aspect of his practice. He is known for his immersive, multi-sensory installations that invoke and interweave such disparate contexts as faith-based spaces of communion and night clubs. 

Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in Red Hook, New York. Her writing and curatorial practice explore the intersections of history, contemporary art, and Indigeneity. She is executive director and chief curator of Forge Project, Taghkanic, New York, and fellow in Indigenous Art History and Curatorial Studies, Bard College. She is curator of the exhibitions Indian Theater: Native Performance, Art, and Self-Determination Since 1969, at the Hessel Museum of Art, and the touring exhibitions Soundings: An Exhibition in Five Parts, co-curated with Dylan Robinson, and ᑕᑯᒃᓴᐅᔪᒻᒪᕆᒃ Double Vision, featuring textiles, prints and drawings by Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk. She was the senior curator for the inaugural 2019 and 2022 editions of the Toronto Biennial of Art and part of the curatorial team for the Canadian Pavilion at the 58th Venice Biennale, featuring the work of the media collective Isuma; as well as documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Her notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” in the documenta 14 Reader; “Outlawed Social Life,” in South as a State of Mind; and “The Appropriation Debates (or The Gallows of History),” in Saturation: Race, Art, and the Circulation of Value.