Diana Al-Hadid was born in 1981 in Aleppo, Syria. She was raised in Cleveland, Ohio, and currently lives and works in New York. Al-Hadid’s large-scale sculptures and wall hangings are the outcome of process-based investigations into materials, including fiberglass, polymer, steel, and plaster. Exploiting the innate tension between mass and gravity, Al-Hadid is particularly interested in the point at which her works are fixed to the ground, often seeking to create what she describes as “something that seems improbable.”

Katrín Sigurdardóttir was born in 1967 in Reykjavik and lives and works in New York. With a background in filmmaking and painting, the artist now works in sculpture and installation, creating works that challenge ideas of space, memory, and perception.

Jesper Just was born in 1974 in Copenhagen, and he lives and works in New York. A visual artist who employs cinematic conventions, Just works primarily in film and occasionally in performance.

Mark Manders was born in 1968 in Volkel, the Netherlands. He now lives and works in Ronse, Belgium. Manders’ works in sculpture and installation are often described as surreal, haunting, and enigmatic.

Kimsooja’s videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices, and serial forms. In many pieces, everyday actions—such as sewing or doing laundry—become two- and three-dimensional or performative activities. Central to her work is the “bottari,” a traditional Korean bed cover used to wrap and protect personal belongings, which Kimsooja transforms into a philosophical metaphor for structure and connection. While striking for their vibrant color and density of imagery, Kimsooja’s works emphasize metaphysical changes within the artist-as-performer as well as the viewer.

An outspoken human rights activist, Ai Weiwei infuses his sculptures, photographs, and public artworks with political conviction and personal poetry, often making use of recognizable and historic Chinese art forms in critical examinations of a host of contemporary Chinese political and social issues. In his sculptural works he often uses reclaimed materials—ancient pottery and wood from destroyed temples—in a conceptual gesture that connects tradition with contemporary social concerns. He also employs sarcasm, juxtaposition, and repetition to reinvigorate the potency and symbolism of traditional images and to reframe the familiar with minimal means.