With La Vaughn Belle, Tiana Webb‑Evans, Danny Báez, Christopher Cozier, and Daniela Fifi‍

Artists and cultural leaders across the Caribbean are building platforms that foster risk, experimentation, and mutual support for emerging generations. Grounded in shared cultural histories and local networks, this panel explores how community-led initiatives create space for new voices, material practices, and forms of artistic freedom.

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Bios

Tiana Webb‑Evans is a writer, cultural producer, and strategist working across global contexts at the intersection of art, design, architecture, and hospitality. She is the founder of ESP Group, Yard Concept, and the Jamaica Art Society, and producer of The Rhythm of Jamaican Art.

Webb‑Evans serves on the Board of the National Gallery of Jamaica, where she leads the Exhibition Committee. She also serves on the boards of Project for Empty Space, the Female Design Council, and is on the advisory committee for Art at a Time Like This. 

Danny Báez hails from Kiskeya and is a former co-founder of the MECA International Art Fair in the Greater Antilles and helped establish ARTNOIR, where he's now a co-founder and board member. He also founded REGULARNORMAL and co-created the DAIRA Agency. Danny serves on the boards of NADA and ISCP and actively promotes transparency in the art market.

Christopher Cozier (b.1959, Port of Spain) is an artist, living and working in Trinidad and a co-director of Alice Yard, which participated in documenta 15. He was awarded, a Pollock-Krasner Foundation Grant (2004), is a Prince Claus Award laureate (2013) a Pérez Prize recipient from the Pérez Art Museum Miami (2023), and the Roy Lichtenstein Grant (2026) 

Through his notebook drawings to installations derived from recorded staged actions, Cozier investigates how Caribbean historical and current experiences can inform understandings of the wider contemporary world. Exhibitions include the 5th & 7th Havana Biennials, Infinite Island, The Brooklyn Museum (2007), Afro Modern: Journeys through the Black Atlantic, TATE Liverpool (2010), Entanglements, The Broad Museum, Michigan (2015), Relational Undercurrents, MOLAA, L.A.  (2017) and The Sea is History, Historiskmuseum,  Oslo (2019). 

Daniela Fifi, Ed.D., has worked in the museum field for over a decade, dedicating her career to advancing museums' inclusivity and using education as a viable tool to bridge communities. She has won competitive awards such as the Samuel H Kress Fellowship at the Miriam D Wallach Art Gallery at Columbia University, the Whitney Museum of American Art Museum Education Fellowship, and the New York State Assembly Caribbean Life Impact Award, to name a few.

La Vaughn Belle
forthcoming

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