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B.A. summa cum laude with honors in Comparative Literature, New York University, January 2000
MFA summa cum laude in Photography, Video + Related Media, School of Visual Arts, June 2002

MacDowell Fellowship, 2025
Graham Foundation Grant, 2024
Guggenheim Fellowship, 2023
NYSCA Individual Artist Grant, 2023
Smithsonian Artist Research Fellowship, 2022
Wellcome Trust Discretionary Grant, 2021
Field of Vision Grant, 2020
Speaking Truth to Power Award, Toronto Reel Asian Film Festival, 2019
Critics Choice Award, Hot Springs Documentary Film Festival, 2019
NYSCA Individual Artist Grant, 2019
Doha Film Institute Grant, 2018
Fellow, New York Public Library, 2018-19
Changemaker Award, Center for Constitutional Rights, 2017
18th Street Arts Center Residency, 2017
Robina Foundation Visiting Artist, Schell Center for International Human Rights, Yale Law School, 2015-16
Creative Capital Award, 2015
Art Matters Grant, 2014
Freund Fellowship, Washington University and St. Louis Art Museum, 2014-15
NYSCA Electronic Media & Film Finishing Funds Grant, 2014
Kamel Lazaar Foundation Project Grant, 2013-14
Artist in Residence, Asian/Pacific/American Institute, New York University, 2013-14
Graham Foundation Project Grant, 2012
CEC ArtsLink Grant, 2011
LMCC Swing Space Residency, Governors Island, 2010
Mid-Atlantic Arts Foundation Artists & Communities Grant, 2007-08
Experimental Television Center Finishing Funds Grant, 2007
Akademie Schloss Solitude Fellowship, 2006-07
Longwood Digital Matrix Commission, 2006
Smack Mellon Artist in Residence, NY Community Trust Van Lier Fellowship, 2005-06
NYFA Fellowship in Computer Arts, 2005
Eyebeam Atelier Artist in Residence, 2004
Turbulence.org Net Art Commission, 2004
Lower Manhattan Cultural Council Artist in Residence, Woolworth Building, 2003-04
Artist in the Marketplace, Bronx Museum of the Arts, 2002-03
Soros Fellowship for New Americans, 2001-02
Aaron Siskind Memorial Scholarship, 2001.

What We Left Unfinished: US theatrical release with Dekanalog: Epsilon Spires (Brattleboro, VT), Laemmle Theaters (LA), Lighbox Film Center (Philadelphia), Northwest Film Center (Seattle), Roxie Theater (San Francisco), and Syndicated (NYC). National virtual theatrical release, summer/fall 2021. Streaming premiere on Criterion Channel, TVOD on all major platforms, educational distribution via Good Docs/Docuseek, international distribution with Arsenal Berlin. Currently streaming on Ovid. Blu-Ray release via Vinegar Syndrome scheduled for late 2025. For a full theatrical/non-theatrical screening list, see film website.

Counting, Accounting, Recounting. Ryan Lee Gallery, NYC, 2025.
Mariam Ghani: Like Water From a Stone. Mt. Holyoke Museum, MA, 2024.
Dis-Ease. Tate Modern Starr Cinema, London, UK, 2024.
Like a Phantom Near or Far (An Occasional Figure Moving), Smithsonian American Art Museum, 2024.
Follow the Leader. RLWindow, Ryan Lee Gallery, NYC, 2022.
Mariam Ghani: Partial Reconstructions. Schneider Museum of Art, Ashland, OR, 2022. [catalogue]
What We Left Unfinished. Blaffer Art Museum, University of Houston, TX, 2020.
When the Spirits Moved Them, They Moved. Hancock Shaker Village, MA, 2018; Ryan Lee Gallery, NYC, 2019, and Speed Museum, Louisville, KY, 2020-21.
The City & The City. Ryan Lee Gallery, NYC, 2016.
The Garden of Forked Tongues. Queens Museum of Art, 2016.
Mariam Ghani & Erin Ellen Kelly: Water, Land, City. Indianapolis Museum of Art, 2015-16.
What We Left Unfinished. 1after320, New Delhi, 2015.
Currents 110: Mariam Ghani. St. Louis Art Museum, 2015.
Like Water from a Stone. Ryan Lee Gallery, NYC, 2015.
Under Siege: Mariam Ghani + Omer Fast. Curated by Chus Martinez. CCCB, Barcelona, 2014.
Going, Going, Gone. RLWindow, Ryan Lee Gallery, NYC, 2014.
Mariam Ghani + Erin Ellen Kelly: It Could Go Either Way. Curated by Amy Mackie. Rogaland Kunstsenter, Norway, 2014; Anchorage Museum, Alaska, 2015.
Index of the Disappeared: Watch This Space. Kimmel Center & Kevorkian Center, NYU, 2014.
Index of the Disappeared: Secrets Told. A/P/A Institute, NYU, 2014.
A Brief History of Collapses. Gatchina Museum, St. Petersburg, 2013.
Tracery. Worth Ryder Gallery, UC Berkeley, CA, 2012.
Modern Mondays: Mariam Ghani. Museum of Modern Art, NYC, 2011.
Video 2010: Mariam Ghani + Erin Ellen Kelly. Momenta Art, Brooklyn NY, 2010.
Six Feet Under: Chitra Ganesh + Mariam Ghani. White Box, NYC, 2004.
Permanent Transit. Smart Project Space, Amsterdam, Netherlands, 2003.
Parallel Frames. Middle East Film Series, NYU, and Armenian Center for Contemporary Experimental Art, Yerevan, 2001.

The Worlds We Speak. LaGuardia Airport Terminal C, NYC, 2022. (mosaic)
For Freedoms Fifty State Initiative. Billboards in Des Moines, Nashville, Rochester, and St. Louis, 2018.
Our System Failure. Times Square, NYC, 2018. (public projections, collaboration with David Birkin)
Going, Going, Gone. U-Bahn Kochstrasse & Collegium Hungaricarum, Berlin; CASZuidas & De Melkweg, Amsterdam, 2009-10. (public projections)
Security Blanket. d.u.m.b.o. Art Under the Bridge Festival, Brooklyn, 2005. (participatory installation, collaboration with Nini Hu)

2025
Speculative Distance. Brief Histories, NYC.
Science of the Word, curated by Jheanelle Brown. LA Film Forum, Los Angeles, CA.
ReFrame Film Festival, Petersborough, Canada.
2024
Sea and Fog. Kunsthalle Baden-Baden, Germany.
BlackStar Film Festival, Philadelphia, PA.
Divvy Film Festival, ICA London, UK.
2023
Without Apology: Asian American Selves, Memories, Futures, curated by Cassandra Braun. Bowdoin College Museum of Art, Maine.
Musical Thinking: New Video Art and Sonic Strategies, curated by Saisha Grayson. Smithsonian American Art Museum, Washington, DC.
Surviving the Long Wars, curated by Aaron Hughes, Ronak K. Kapadia, Therese Quinn, Joseph Lefthand, and Amber Zora. Chicago Cultural Center, IL.
CMU International Film Festival. Pittsburgh, PA.
2022
City of Faith: Religion, Activism, and Public Space, curated by Azra Dawood. Museum of the City of New York, NYC.
Unfinished: Women Filmmakers in Process, curated by Alix Beeston and Stefan Solomon. Chapter Arts Centre, Cardiff, Wales.
27th Ji.hlava International Documentary Film Festival, Czech Republic.
Kafala: Migrant Labor in the Arabian Peninsula, curated by Clark Clark. Apex Art, NYC.
BlackStar Film Festival, Philadelphia, PA.
Prismatic Ground Presents: Christopher Harris. Maysles Documentary Center, NYC.
BAMCinemaFest, Brooklyn Academy of Music, Brooklyn, NY.
Who Writes History? Arts Westchester, NY.
Juror’s retrospective screening, 60th Ann Arbor Film Festival.
2021
A Slippery Slope, curated by Youri Appelo. Garage Rotterdam, Netherlands.
Left Unfinished: Recent Afghan Cinema. Smithsonian National Museum of Asian Art, Washington, DC and online
Asian Film Festival, Barcelona, Spain
Athens International Film & Video Festival, Athens, OH
Contagion, curated by Jahnavi Palkey and Danielle Olsen. Science Gallery Bengaluru, India/online.
Human International Documentary Film Festival. Oslo, Norway/online.
Cinema, Disrupted, curated by Chanel Kong. M+ Museum, Hong Kong/online.
Women Filmmakers Festival: Her History Lessons. Smithsonian American Art Museum, DC/online.
2020
Sofa Cinema, curated by Siegrun Salmanian. Mosaic Rooms, London/online.
Online Cinema 1:99, curated by Ying Kwok. Center for Experimental Film, China/WeChat.
Ausweitung der Marktzone, curated by Rasmus Kleine and Luca Daberto. Kallmann-Museum Ismaning, Munich, Germany.
58th Ann Arbor Film Festival, livestream edition.
Lahore Biennale, Pakistan.
43rd Göteborg Film Festival, Sweden.
DocPoint Talinn, Estonia.
State of Motion: Animating the Archive. Singapore.
DATAism, curated by Lise Prown and Amy Kurlander. Arts Westchester, NY.
2019
Cinema Verité Film Festival, Tehran, Iran.
19th International Film Festival WatchDocs, Krakow, Poland.
Tentacular 2019: Extremophilia. Curated by Julia Kaganskiy. Matadero, Madrid, Spain.
DOC NYC. Cinépolis Chelsea, NYC.
Toronto Reel Asian Film Festival. Toronto, CA.
St. Louis International Film Festival. St. Louis, MO.
San Diego Asian Film Festival. San Diego, CA.
Philadelphia Asian American Film Festival. International House, Philadelphia, PA.
The Shakers and the Modern World. Currier Museum of Art, Manchester, NH.
Encountered Error. Société d’Electricité, Brussels, Belgium.
Hot Springs Documentary Film Festival, Hot Springs, AR.
Heartland International Film Festival, Indianapolis, IN.
Nashville Film Festival. Nashville, TN.
Tasveer South Asian Film Festival. Northwest Film Forum, Seattle, WA.
Adana Golden Boll Film Festival, Turkey.
Festival Internacional de Cine Documental de Buenos Aires. Argentina.
Der Neue Heimat Film. Burg Klempenow, Austria.
Afghansk Film Festival. Danish Film Institute, Copenhagen.
We Refugees, curated by Piedad Solans & Santiago Olmo. CGAC, Santiago de Campostela, Spain.
Il Cinema Ritrovato. Bologna, Italy.
International Documentary and Short Film Festival Kerala. India.
Sheffield Doc/Fest. Sheffield, UK.
Scritti Politti: Sousveillance, curated by Craig Baldwin. Other Cinema, San Francisco, CA.
SFFILM Festival. San Francisco, CA.
69th Berlin International Film Festival. Berlin, Germany.
Germ City: Microbes and the Metropolis. Museum of the City of New York, NYC.
2018
Market Forces, curated by Nick Hackworth. HE.RO Gallery, Amsterdam.
Music of Action, curated by Yulia Aksenova. Triumph Gallery, Moscow, Russia.
Where I Am is Here, curated by Helen Nisbet. Hollybush Gardens, London, UK.
Revolutions and Movements. Dupont Underground, Washington, DC.
As We Become, curated by Meenakshi Thirukode. Exhibit320, New Delhi, India.
Public Art Munich: Game Changers, curated by Joanna Warsza. Munich, Germany.
2nd Yinchuan Biennale: Starting from the desert – Ecologies on the edge, curated by Marco Scotini. Museum of Contemporary Art, Yinchuan, China.
Beyond Transnationalism: The Legacy of Post-Independent Art in South Asia, curated by Arshiya Lokhandwala. Dr Bhau Daji Lad Museum, Mumbai, India.
Caressing History, curated by Adawit Singh. Shrine Empire Gallery, New Delhi, India.
Waste Lands / Tierras Devastadas, curated by Piedad Solans. Casa Arabe, Madrid and Cordoba, Spain.
Hyperreal, Aicon Gallery, NYC.
2017
Field Research: Liberating Knowledge, curated by Snejana Krasteva and Olga Shirokostup. Garage Museum, Moscow.
Asian Art Biennial, curated by Hsiaoyu Lin, Kenji Kubota, Ade Ruangrupa, and Wassan al-Khudhairi. National Museum of Taiwan, Taichung.
Lines Drawn, curated by Xandra Eden. Diverseworks, Houston, TX.
Lucid Dreams and Distant Visions, curated by Lawrence-Minh Davis, Boon Hui Tan, Michelle Yun, and Jaishri Abichandani. Asia Society, NYC.
Converging Voices: Gender and Identity, curated by Karen Albert. Lowe Gallery, NYC.
Outcasts: Women in the Wilderness, curated by Deborah Frizzell, Jennifer McGregor and Harry Weil. Wave Hill, NYC.
Archival Alchemy, curated by Saisha Grayson. Abrons Art Center, NYC.
Watering the Flowers, curated by Victoria Brooks. EMPAC, Troy, NY.
Waste Lands, curated by Piedad Solans. Museu San Telmo, San Sebastian, Spain.
Political Discourse, curated by Sam Toabe. University Hall Gallery, Boston, MA.
2016
But a Storm is Blowing from Paradise, curated by Sara Raza. Guggenheim Museum, NYC.
The Weight of Hope, curated by Joel Parsons. Clough-Hanson Gallery, Rhodes College, Memphis, TN.
For Freedoms, curated by Hank Willis Thomas and Eric Gottesman. Jack Shainman Gallery, NYC.
Tecnologias de la Violencia, curated by Piedad Solans. Arts Santa Monica, Barcelona.
The Unfinished Film, curated by Thomas Beard. Metropolitan Museum, NYC.
Unfolding a Scene: Mariam Ghani, Riyas Komu, Mustafa Zaman, curated by Meenakshi Thirukode. Exhibit 320, New Delhi, 2016.
Sherzade’s Gift: Subversive Narratives, curated by Jaishri Abichandani. Center for Book Arts, NYC; Twelve Gates, Philadelphia, PA.
welcome to what we took from is the state, curated by Sadia Shirazi. Queens Museum of Art, NYC.
Waste Lands, curated by Piedad Solans. Museu Es Baluard, Palma de Mallorca, Spain.
Mining Warm Data, curated by Diana Campbell Betancourt. Dhaka Art Summit, Bangladesh.
Utopian Pulse. Museum of Contemporary Art Krakow, Poland.
2015
Evidence, curated by Seoyoung Kim. DNA, Berlin.
Acting on Dreams, curated by Yaelle Amir. Franklin Street Works, Stamford, CT.
Making Border: Afterimages + Projections, curated by Dongsei Kim and Seoyoung Kim. DNA, Berlin.
Frames of War, curated by Natasha Llorens. Momenta Art, NYC.
Border Cultures Part 3 (security, surveillance), curated by Srimoyee Mitra. Art Gallery of Windsor, Ontario.
2014
Shangri-LA: Imagined Cities, curated by Rijin Sahakian. LA Municipal Art Galleries, Los Angeles.
Sweet Dew – After 1980, curated by Michelle Hyun. Biennale Special Project, Gwangju Art Museum, Korea.
Temporary Center for Translation, cur. Omar Berrada + Taraneh Fazeli, New Museum, NYC.
Parles pour toi / Speak for yourself, curated by Marie Muracciole. Marian Goodman, Paris.
La biblioteca y el saber, curated by Piedad Solans. KMK, San Sebastián, Spain.
Dass ich den Mond sähe im Schlaf …, cur. Axel Lapp. MEWO Kunsthalle, Germany.
2013
Architecture Film Festival, Rotterdam, Netherlands.
No-Madness in No-Mans-Land, cur. Leeza Ahmady + Ombretta Agro. Eslite Gallery, Taiwan.
Biennale Online, organized by Jan Hoet, section curated by Nancy Spector.
Psychic Geographies, curated by Anneka Herre. Urban Video Project, Everson Museum, Syracuse, NY.
Only A Signal Shown, curated by Taraneh Hemami. Southern Exposure, San Francisco, CA.
42nd International Film Festival Rotterdam, Netherlands.
Acts of Voicing, curated by Iris Dressler and Hans Christ. Para/Site Art Space, Hong Kong and Total Museum, Seoul.
2012
dOCUMENTA (13), curated by Carolyn Christov-Bakargiev. Kassel, Germany, and Kabul, Afghanistan.
Her Stories, curated by Jaishri Abichandani and Josheen Oberoi. Queens Museum of Art, NYC.
Absolute Democracy, curated by Carlos Motta and Oliver Ressler. rotor, Graz, Austria.
Acts of Voicing, curated by Iris Dressler and Hans Christ. Wurttembergischer Kunstverein, Stuttgart, Germany.
CPH:DOX. Danish Film Institute, Copenhagen.
2011
American Chambers, curated by Inhee Iris Moon. Gyeongnam Art Museum, Korea.
Between Heaven and Earth, curated by David Elliott. Calvert 22, London, UK.
Sharjah Biennial 10: Plot for a Biennial, curated by Suzanne Cotter, Rasha Salti and Haig Aivazian. Sharjah, UAE.
2010
Left, curated by Christopher Lew. Aicon Gallery, NYC.
Afghaans Film Festival. Rialto, Amsterdam, NL.
New York City Chronicles, curated by Maymanah Farhat + Osama Abusitta. VCU Gallery, Qatar.
Art of War. CEPA Gallery, Buffalo NY.
Structures Within an Intervention, curated by Meenakshi Thirukode. The Guild Art Gallery, NYC.
Territories of the In/Human, curated by Hans Christ + Iris Dressler. Wurttembergische Kunstverein, Stuttgart, Germany.
2009
Conversation Pieces, curated by Mariam Ghani + Sean Donaher. CEPA Gallery, Buffalo, NY.
Beijing 798 Biennial: Translational Aesthetics, curated by Jaishri Abichandani + Alexandra Loewenstein. Dashanzi Art District, Beijing.
Tarjama/Translation, curated by Leeza Ahmady + Iftikhar Dadi. Queens Museum of Art, NYC. (*opening night performance)
Sharjah Biennial 9: Provisions for the Future, curated by Isabel Carlos + Jack Persekian. Sharjah, UAE.
Artists in Exile. Arario Gallery, NYC.
Rotte Metropolitane / Metropolitan Routes, curated by Giacomo Bazzani. Villa Romana, Florence, Italy.
2008
Democracy in America, curated by Nato Thompson. Creative Time, New York, NY.
Everywhere is War (and rumours of war). Bodhi Art, Mumbai, India.
Afghanistan on Film: New Video Art from Kabul, curated by Leeza Ahmady. National Gallery, Washington, DC.
Group Show. Lemmons Contemporary, New York, NY.
Future Afghanistan, curated by Robert Kluijver. Gemak, The Hague, Netherlands.
2007
Infinitu et Contini: Repeated Histories, Reinvented Resistances, curated by Denise Carvalho. Smack Mellon, NYC.
Encounters, Part II, curated by Femke Lutgerink. Stadsgalerij Heerlen, Netherlands.
25 Years Later: Welcome to Art in General, curated by Anne Barlow, Sofia Hernandez, Anthony Marcellini. UBS Art Gallery, NYC.
Sultana’s Dream, curated by Jaishri Abichandani. Exit Art, NYC.
Mariam Ghani, Seung Pyo Hong, Damaso Reyes. Akademie Schloss Solitude, Stuttgart, Germany.
Undisclosed Recipients: Finger Lakes Environmental Film Festival 2007, curated by Dale Hudson and Sharon Lin Tay. Ithaca, NY and online.
The Anatomy of Ignorance, curated by Sara Raza + Cherry Jones. Tate Modern, London, UK.
New York Arab and South Asian Film Festival. Tribeca Cinemas, NYC.
Spectral Evidence, curated by Steven Lam. Rotunda Gallery, Brooklyn, NY.
2006
Longwood Arts Projects: Then and Now, curated by Edwin Ramoran and Juanita Lanzo. Haven Arts, Bronx, NY.
Welcome, curated by Kara Lynch. Liebling Center for Film, Photo & Video, Hampshire College, MA.
Underfire, curated by Ryan Griffis. I Space Gallery, Chicago.
Fair Play 2006 Video Festival. Play Gallery, Berlin, Germany.
Sommerfest 2006. Akademie Schloss Solitude, Stuttgart, Germany.
Fast Futures: Asian Video Art, curated by Melissa Chiu, Barbara London, Leeza Ahmady. Bose Pacia Gallery / Rubin Museum of Art, NYC.
If a cat gives birth to kittens in an oven, are they kittens or biscuits? curated by Dean Daderko. Roebling Hall, NYC.
Interdigitate New Media Festival. Galatos, Auckland, New Zealand.
d/Art/2006. Sydney Opera House, Sydney, Australia.
Detained. Asian American Art Center, NYC.
Site 92. Smack Mellon, NYC.
Moving Time: Tribute to Nam June Paik, curated by Iris Inhee Moon. Gallery Korea, NYC.
The Studio Visit. Exit Art, NYC.
2005
America: Are We Drowning? Art Murmur, Los Angeles
In the Shadow of Heroes. ArtEast, Bishkek, Kyrgysztan.
The World Is a Safer Place: A Survey of Nonconformist Art, curated by Francis Gomila. The Globe City Gallery, Newcastle, UK.
Puntos Cardinales, curated by Carlos Motta. PS122, NYC.
After Effects, curated by Erin Donnelly. September 8th – 11th: What Comes After: Cities, Art + Recovery. Tribeca Performing Arts Center, NYC. October 18th – November 4th: 15 Nassau, NYC.
18th Annual Dallas Video Festival. Dallas Museum of Art & Dallas Theater Center, Dallas, TX.
Media in “f”: 5th Ewha Media Art Presentation, curated by Iris Inhee Moon. Ewha Art Center, Seoul, Korea.
BROOKLin Video. Futura, Prague, Czech Republic.
Political Video from New York, curated by Louky Keijsers. Objectnotfound, Monterrey, Mexico.
IN/VISIBLE: Contemporary Art by Arab American Artists, curated by Salwa Mikdadi. Arab American National Museum, Dearborn, MI. (commissioned project for inaugural exhibition)
The Taste of Others, curated by Leeza Ahmady. Apex Art, NYC.
Independent Heroines 2005 Film Festival. The Cube Cinema, Bristol, UK.
Produced@Eyebeam: Work in Process, curated by Benjamin Weil and Kathleen Forde. Eyebeam Atelier, NYC.
2004
Democracy Was Fun, curated by Raul Zamudio & Juan Puntes. White Box, NYC.
CPH:DOX. Danish Film Institute, Copenhagen, Denmark.
d.u.m.b.o. Short Film & Video Festival, curated by Les LeVeque and Daniella Dooling. d.a.c, NYC.
Liverpool Biennial 2004: The Transparent Eyeball, curated by Lauren Cornell and Astria Suparak. September 18th – 19th: FACT Centre for Film, Art & Creative Technology; September 18th – October 23rd: Biennial Mobile Cinema, 55 New Baird St. Warehouse, Independent Quarter. Liverpool, UK.
5th Biennial New Arts Program Video Festival. Paula Cooper Gallery, NYC. (tour selection, honorable mention for experimental video; jurors John Hanhardt & Sally Berger)
Fear Will Not Silence Us. Alwan, NYC.
Blow the Conch, curated by Nitin Mukhul. July 24th, 2004. PS122, NYC.
Explosion LTTR: Elusive Quality, curated by Lauren Cornell and Astria Suparak. Participant Inc., NYC.
Subway Series: The Mets + Our National Pastime, curated by Carlo McCormick. Queens Museum of Art, Queens, NY.
Un-American Films. July 4th, 2004. Rooftop Films Summer Season, The River Project, Pier 26, NYC.
Tactical Action: Hit ‘n Run, curated by Louky Keijsers. Gigantic Art Space/Pier 63, NYC.
Martha + Me. Gallery Onetwentyeight, NYC.
Contemporaneity: An Exhibition of Contemporary Video Works, curated by Leeza Ahmady. Peace + Respect Festival, Museum of Fine Arts, Bishkek, Kyrgyz Republic; Academy of Fine Arts, Tashkent, Uzbekistan.
Open House: Working in Brooklyn, curated by Charlotta Kotik and Tumelo Mosaka. Brooklyn Museum of Art, Brooklyn, NY.
[R][R][F] 2004 : [Remembering-Repressing-Forgetting], curated by Agricola de Cologne. February 20th – March 15th, 2004. National Museum of Contemporary Art Bucaresti, Romania, BEK Bergen, Norway and Folly New Media Institute, Lancaster, UK. April 1st – May 16th, 2004: 2nd Thai New Media Art Festival, Bangkok, Thailand; Now Music Streaming Festival, Berlin; BASICS Festival, Salzburg, Austria; Pescara Electronic Arts + Media Festival, Pescara, Italy; Version04Festival, Chicago, IL. June 21st –August 3rd: VI Havana Salon y Coloquio de Arte Digital, Cuba; Split Festival of New Film + New Media, Croatia; public_space_festival Yerevan, Armenia; West Coast Numusic + Electronic Arts Festival Stavanger, Norway. September 13th-30th: Perth Biennale of Electronic Arts, Australia. Online at www.newmediafest.org/rrf2004/ through December 2004.
Universal Games/Everything Is Gonna Be Alright. CinemaEast Spring Series, Cantor Film Center, New York University, NYC.
2003
13a Mostra Curtacinema. Rio de Janeiro, Brazil. (opening night selection)
Canal Street Projection Project. New Orleans, LA.
5th Biennial New Arts Program Video Festival. Hunterdon Museum of Art, Clinton, NJ.
Breaking News. stART@Judson Church, NYC.
AIM 23, curated by Lydia Yee and Amy Rosenblum-Martin. Bronx Museum of the Arts, NYC.
The New York Video Festival. Film Society of Lincoln Center, NYC.
Exit Biennial: The Reconstruction. Exit Art, NYC.
transmediale.03: play global! Berlin, Germany.
[BLANK]: In Pursuit of An American History, curated by Stephanie Dinkins. SAC Gallery, Stony Brook University, Stony Brook, NY.
Init.Two. Visual Studies Workshop, Rochester, NY.
2002
Media(less) Medium. Mills Gallery, Boston Center for the Arts, Boston.
Afghan-American Women in Film. Asia Society, NYC.
=7. Brooklyn Academy of Music Rose Cinemas, Brooklyn, NY.
Lost + Found. Visual Arts Gallery, SoHo, NYC.
Mango, curated by Edwin Ramoran and Melissa Chiu. Talwar Gallery, NYC.
(far from) Home Videos, curated by Jarryd Lowder. Remote Lounge, NYC.
Progress/Armenia Dreams Gasoline. Armenian Center for Contemporary Experimental Art, Yerevan, Armenia.

“Intro to an Index,” in Book of the Disappeared: The Quest for Transnational Justice, ed. Jennifer Heath & Ashraf Zahedi. U of Minnesota Press, 2023.
“In the Garden of Forked Tongues.” Aftermath. Edited by Rasha Salti. AFAC, 2022.
Mariam Ghani: Partial Reconstructions. With an essay by Sadia Shirazi and an interview with Leeza Ahmady. Schneider Museum of Art, 2022.
“Rahraw Omarzad on the Future of Afghan Arts” in Frieze, March 2022.
“How Do You See the Disappeared? A Warm Database” in The Art Happens Here: Net Art Anthology (Rhizome, 2019).
“Shahrazade in the Archives: A Testimony from Fragments” in Critical Writing Ensembles (Mousse, 2017).
“52 Weeks and Engaging by Disengaging,” with Haig Aivazian, in The Gulf: High Culture, Hard Labor, ed. Andrew Ross. OR Books, 2015. Reprinted in Assuming Boycott: Resistance, Agency, and Cultural Production, eds. Laura Raicovich, Carin Kuoni & Kareem Estefan. OR Books, 2017.
“Salon-e-Girdbad / Salon of the Whirlwind” in Utopian Pulse: Flares in the Darkroom, ed. Oliver Ressler & Ines Doujak. Pluto Press, 2015.
“Notes from a Boycott” in Manifesta Journal 18, November 2014.
“The Trespassers: Transcripts”, “Notes From a Boycott”, and “Not An Exception: US Prison Policy From California to Cuba” (with Chitra Ganesh, Ramzi Kassem and Alexis Agathocleous) in Shangri La: Imagined Cities, edited by Rijin Sahakian and Mostafa Heddaya. Los Angeles DCA, 2014.
“Field notes for ‘What we left unfinished’: The artist and the archive.” Ibraaz, Platform 006, December 2013. Reprinted in Archival Dissonances: Knowledge Production and Contemporary Art. IB Tauris, 2015.
“Parable of the Garden.” Creative Time Reports, October 2013. Co-published as “Afghan Bloom” in Foreign Policy. Reprinted in Artists on the News: Selections from Creative Time Reports, 2012-2017, edited by Marisa Mazria Katz. Paper Chase Press, 2019.
“Mariam Ghani + Pradeep Dalal.” Memories Can’t Wait. International Center for Photography, 2013.
“The Islands of Evasion: Notes on the Politics and Poetics of International Art English.” Triple Canopy, June 2013. Reprinted in Social Medium: Artists Writing 2000-2015. Paper Monument, 2016, and International Art English, Triple Canopy, 2018.
“Filming the Many Afghanistans.” Co-published by Creative Time Reports and the New York Review of Books online, January 2013. Republished, Art Asia Pacific online, April 2013; HIVE, April 2014.
“To Not Wait for the Archive,” with Shaina Anand, Faiza Khan and Ashok Sukumaran. Mousse No. 34: An Issue About Documenta, Summer 2012.
“Panorama: History of Collapses.” Abitare No. 523, June 2012.
dOCUMENTA (13): The Guidebook and dOCUMENTA (13): The Book of Books. Hatje Cantz, 2012.
“From the Rubble.” Filmmaker Fall 2011, Vol. 20, #1. IFP, 2011.
Afghanistan: A Lexicon, with Ashraf Ghani. Hatje Cantz and dOCUMENTA (13), 2011. Excerpted in the New York Review of Books online, September 2012.
“Introduction to an Index,” with Chitra Ganesh. Radical History Review No. 111: Historicizing 9/11. Duke University Press, 2011.
“Mariam Ghani in conversation with Chitra Ganesh.” Plot for a Biennial. Edited by Ghalya Saadawi. Sharjah Art Foundation, 2011.
“Notes on the Disappeared (04-08).” One Story, Thirty Stories: An Anthology of Contemporary Afghan American Literature. Edited by Zohra Saed & Sahar Muradi. University of Arkansas Press, 2010.
“Notes for a Shooting Script / Bidoun Questionnaire,” with Erin Kelly. Provisions for the Future: Sharjah Biennial 9. Edited by Antonia Carver, Valerie Grove and Lara Khaldi. Bidoun, 2009.
“New World Borders.” Common Possibility. Playspace Gallery, 2008.
Kabul: Constitutions – Annotated Guide to the Interactive Map. Text and diagrams by Mariam Ghani, photographs by Rick Vogels. Produced by Gemak, 2008. Reprinted without photographs by rotor (Graz) in 2012.
“Afghanistan: Between the Tiger and the Precipice.” FUSE 30th Anniversary Issue: Cultural Change in Real Terms. October 2007.
“Seeing the Disappeared,” with Chitra Ganesh. Pavilion Issue 10-11: What Was Socialism, and What Comes Next. May 2007.
“Divining the Question: An Unscientific Methodology for the Collection of Warm Data.” Viralnet, Issue Viralzerosix. Center for Integrated Media, CalArts, 2006.
“Unwritten Histories & the Digital Divide: On Critics, Archives and Networks.” Arts & Leisure.  e-flux / Art in General, 2005.
Index of the Disappeared: Catalogue .100. ‘zine co-edited and produced with Chitra Ganesh, distributed by LMCC during the “Cities, Art & Recovery” conference on the fourth anniversary of 9/11. Black and white, run of 150, 8.5” x 7”, 2005. Includes contributions by Ghani, Ganesh, Jenny Polak, Joan Linder, and the Visible Collective.
“Seeing the Disappeared,” with Chitra Ganesh. Samar Issue 19: Spring/Summer 2005.
“How Do You See the Disappeared?” Journal of Aesthetics & Protest #4. AK Press, 2005.
“Towards a Visual Language of Resistance: Notes on the Disappeared,” with Chitra Ganesh. Bare Acts: The Sarai Reader 05. Edited by Raqs Media Collective. Sarai, 2005.
“Borders/Barriers.” Pour La Victoire. Edited by surface2air. Spoon, 2002.

“Mariam Ghani.” Interview with Dan Golden, curator.guide, February 10th, 2025.
“Fire and War.” Meka Boyle, Family Style, January 13th, 2025.
“BlackStar Film Festival 2024 Dispatch.” Sophie Lewis, e-flux Notes, August 15th, 2024.
“A visually rich documentary packs a punch about how we see disease.” Simon Ings, New Scientist, August 14, 2024.
“Public art at airports, all the installations not to be missed.” Carlo Tozzi, Domus, July 20th, 2024.
“The Divine Dissatisfaction of Music.” Angelica Abouholhosn, Hyperallergic, January 23, 2024.
“Musical Thinking: New Video Art and Sonic Strategies.” Charlotte Kent, The Brooklyn Rail, September 2023.
“Art by Survivors of America’s Wars.” Lori Waxman, Hyperallergic, May 23, 2023
“New York’s LaGuardia Airport unveils permanent artworks by Mariam Ghani, Rashid Johnson, and others.” Sarah Cascone, Artnet, June 2, 2022.
“Ready When You Are, Terminal C Is Now an Art Destination.” Hilarie Sheets, The New York Times, June 1, 2022.
“Mariam Ghani & Erin Ellen Kelly: When the Spirits Moved Them, They Moved.” Jena Seiler, Material Culture Review vol 92-93, summer 2022.
“Mariam Ghani on Afghanistan’s Unfinished Histories.” Interview with Perwana Nazif. Artforum, September 22nd, 2021.
“Mariam Ghani interview: What We Left Unfinished Traces the Turbulent History of Afghanistan Through Media.” Alison Jean Smith, Redefine Mag, September 3rd, 2021.
“An Index of Unfinished Histories: Mariam Ghani on Afghan Cinema.” Interview with Najrin Islam, ASAP Art, August 13th, 2021.
“What We Left Unfinished.” Devika Girish, The New York Times, August 5th, 2021.
“Persons and Profiles: Chitra Ganesh and Mariam Ghani’s Index of the Disappeared (2004- ).” Jeannine Tang, Women and Performance: a journal of feminist theory, May 2021.
“The Art of Preservation with Filmmaker Mariam Ghani.” Interview with Baktash Ahadi, Stories of Transformation podcast, April 2021.
“What is It Good For: War, Social Engagement, and Contemporary Art Experiments.” Atteqa Ali, in Collaborative Praxis and Contemporary Art Experiments in the MENASA Region. Palgrave Macmillan, 2020.
“Pandemic Art: How Artists Have Depicted Disease.” Michael Regnier, The Art Newspaper, May 2nd, 2020.
“History Lesson: Coronavirus is the Latest Pandemic, Not the Last.” Ken Arnold, Abbie Doran, and Danielle Olsen, The New Humanitarian, March 31st, 2020.
“What We Left Unfinished: Live Ammunition.” Alexander Miller, Film Inquiry. April 15th, 2020.
“Three Visions of Apocalypse at the Ann Arbor Film Festival.” Bardia Rahmani, Universal Cinema. April 2nd, 2020.
“58th Ann Arbor Film Festival: Struggles to Survive.” Patrick Dunn, March 2020.
“LB02: A Sign of Better Things to Come.” Zohreen Murtaza, Dawn. February 9th, 2020.
“What We Left Unfinished Exposes Afghan Film Culture.” Jeff Rouner, Houston Chronicle, January 22nd, 2020.
“The 20 Best Asian Documentaries of 2019.” Asian Movie Pulse, December 20th, 2019.
“Best Undistributed Films of 2019.” Film Comment, December 11th, 2019.
“Czas buntu i nienawiści. Najciekawsze filmy festiwalu Watch Docs.” Jakub Demiańczuk, Polityka, December 5th, 2019.
“DOC NYC 2019 Women Directors – Meet Mariam Ghani.” Women and Hollywood, November 19th, 2019.
“Talking the Bigger-Than-Ever Tenth Anniversary Edition of DOC NYC.” Scott Macaulay, Filmmaker, November 8th, 2019.
“San Diego Asian Film Festival at 20.” Beth Accomando, KPBS, November 7th, 2019.
“Must-See Films at Toronto Reel Asian.” Now Toronto, November 6th, 2019.
“DOC NYC documentary film festival: Real life, both light and dark.” David Morgan, CBS News, November 6th, 2019.
“DOC NYC 2019.” David Hudson, Criterion Daily, November 6th, 2019.
“Mariam Ghani’s ‘What We Left Unfinished’ Offers a Rare Glimpse Into Afghan History.” She Does the City, November 4th, 2019.
“Documentary Review: What We Left Unfinished.” Rouven Linnarz, Asian Movie Pulse, October 31st, 2019.
“Distintas miradas para abordar la realidad: Festival de Cine Documental de Buenos Aires.” Oscar Ranzani, Pagina12, September 12th, 2019.
“Il Cinema Ritrovato: Forward Into the Past.” Celluloid Liberation Front, The Brooklyn Rail, July 26th, 2019.
“They went to crazy lengths: amazing Afghan films the world never got to see.” Profile by Amy Fleming, The Guardian, June 6th, 2019.
“A New Film Challenges How We View Infectious Disease.” Brian P. Dunleavy, Contagion Live, May 29th, 2019.
Insurgent Aesthetics: Security and the Queer Life of the Forever War. Ronak Kapadia, Duke University Press, 2019.
“The Afghan Films Left Unfinished.” Voices of the Middle East and North Africa, KPFA. Aired April 19th, 2019.
“San Francisco International Film Festival Week 1 Roundup.” Arlin Golden, Film Inquiry, April 18th, 2019.
“The Power of Propaganda.” Interview with Emran Feroz, Qantara, April 12th, 2019.
“What We Left Unfinished.” Alex Savaliev, Film Threat, April 11th, 2019.
“The Afghan Films Left Unfinished Under Communist Rule.” Dan Schindel, Hyperallergic, April 10th, 2019.
“The SFFILM Festival’s Eastern Front.” Kelly Vance, East Bay Express, April 9th, 2019.
“Die Wahrheit eines einzeln Moments.” Sonia Zekri, Suddeutsche Zeitung, April 8th, 2019.
“SFFILM Fest 2019 – don’t miss these 15 movies.” Randy Myers, East Bay Times, April 3rd, 2019.
“Kissing the Dead Body: Conjuring ‘Warm Data’ in Archives of U.S. Global Military Detention.” Ronak Kapadia, Verge: Studies in Global Asia(s), Vol 5 Issue 1. U of Minnesota Press, 2019.
“‘A different kind of freedom’: Afghanistan’s thwarted filmmakers and the new social order they imagined.’ Clarence Tsui, South China Morning Post, March 4th, 2019.
“5 filme despre intimitate, de la Berlin, care fac din tine un roman mai bun.” Dana Knight, Vice, March 1st, 2019.
“Berlinale 2019: Interview: Mariam Ghani.” Interview with Lea Gronenberg for Filmlowin, February 21st, 2019.
“Berlinale 2019: The Best of the Rest.” Christian Hain, Worldwide Arts Magazine.” February 21st, 2019.
“Afghan cinema visits Berlin Film Festival.” Emran Feroz, The Hindu, Februrary 16th, 2019.
“Afghanische Fragmente: der dokfilm ‘What We Left Unfinished’ im Forum.” Kai Kohler, Junge Welt, February 15th, 2019.
“Berlinale: What We Left Unfinished.” Snezhana Petrova, Diletant, February 15th, 2019.
“Berlinale 69: da Forum due film sul cinema e sulla politica e il senso che hanno ancora.” Claudio Cosazza, Cinequanon, February 14th, 2019.
“Familiengeschichten.” Interview with Bert Rebhandl for the Franfurter Allgemeine Zeitung, February 14th, 2019.
“What We Left Unfinished de Mariam Ghani convoque les fantomes du cinéma Afghane.” Ecran Noir, February 12th, 2019.
“What to see in New York art galleries this week: Mariam Ghani and Erin Ellen Kelly.” Martha Schwendener, The New York Times, February 7th, 2019.
“Auf Spurensuche in der afghanische Filmgeschichte.” Interview with Gesa Ufer, Deutschlandfunk Kultur, February 5th, 2019.
“Das 5×3 der Berlinale.” Hannah Pilarczyk, Der Spiegel, February 2nd, 2019.
“The Best of London’s September Exhibitions.” Chris Fite-Wassilak, Frieze, September 5th, 2018.
“Deserti ed ecologia: reportage dalla Biennale di Yinchuan.” Lorenza Pignatti, Artribune, July 25th, 2018.
“Yinchuan Biennale: Starting From the Desert. Ecologies on the Edge.” Review by Tessa Moldan. Ocula, July 19th, 2018.
“Archiving Revolution on 858.ma.” Perwana Nazif, LA Review of Books, July 16th, 2018.
“Five South Asian Artists Tackling Culture, Politics, Gender and Nostalgia.” Sana Rezwan Sait, Elle India, June 2018.
“Warm Data.” Interview with Michael Connor. Rhizome, November 3rd, 2017.
“What Does It Mean to Make Art in the South Asian Diaspora?” Review by Hrag Vartanian. Hyperallergic, August 4th, 2017.
“Answers from South Asia.” Review by Ratik Asokan. The Hindu, July 29th, 2017.
“Seeing the Unseen: An Interview with Mariam Ghani.” Deborah Frizzell, Cultural Politics, Volume 13, Issue 1, Spring 2017.
“How Important is Art as a Form of Protest?” survey response for Frieze, March 2017.
“Mariam Ghani at Ryan Lee.” Review by David Markus. Art in America, November 2016.
“Arts Santa Mònica desvela relación del arte con ‘la violencia que nos rodea.'” La Vanguardia, October 18th, 2016.
“Invisible City: Sci-Fi and Segregation in St. Louis.” Review by Ryan Wong, The Village Voice, October 12th, 2016.
“‘The Weight of Hope’ at Clough-Hanson.” Review by Elle Perry. The Memphis Flyer, October 6th, 2016.
“Using Art to Investigate Catastrophe: A Q+A with Mariam Ghani.”. Interview with Owen Duffy. Artspace, September 17th, 2016.
“Portfolio: Mariam Ghani.” Frieze, September 9th, 2016.
“The Remarkable Diversity of Queens, as Seen Through Its Disappearing Languages.” Meg Miller, Fast Company Design, September 1st, 2016.
“Reading the Redacted.” Stephen Voyce, Amodern Issue 6: Reading the Intelligible, July 2016.
“But a Storm is Blowing from Paradise: Contemporary Art of the Middle East and North Africa.” Review by Yasaman Alipour, The Brooklyn Rail, July 11th, 2016.
“Paradise Lost: Middle Eastern Art at the Guggenheim.” Review by Rahel Aima, Art in America, Summer 2016.
“In Review: Sara Raza’s Hotly Anticipated Exhibition at the Guggenheim New York.” Harper’s Bazaar Art, Summer 2016.
“But a Storm is Blowing from Paradise.” Feature by Lily Tekseng, Art Radar, June 26th, 2016.
“Mariam Ghani interviewed by Meenakshi Thirukode.” Critical Collective, June 19th, 2016.
“Castles made of sand…or rather, couscous.” Feature by Anna Bressanin. BBC World, May 17th, 2016.
“Nonstop metropolis: viewing a city’s crazy, diverse, complex history as an atlas.” Alex Rayner, The Guardian, April 26th, 2016.
“Unfolding a Scene.” Review by Deepa Bhashti. Art Asia Pacific, April 2016.
“Dhaka Art Summit 2016.” Kurchi Dasgupta. Frieze, April 2016.
“Verwüstete Länder.” Mallorca Magazin, March 2016.
“L’art que rega la terra erma.” Review by Catalina Serra, Ara, March 4th, 2016.
“Top 5 at the Dhaka Art Summit 2016.” Elle India, February 2016.
“The 5 Best Arthouse Films Shown at Berlinale 2016.” Sleek Mag, February 2016.
“Puls utopii – rozbłyski w ciemni – od soboty do środy.” Gazeta Wyborcza, January 16th, 2016.
“The human dimension of archives.” Interview with Regina Corallo, Scope, November 29th, 2015.
“Role-Playing.” Ann Butler, Brooklyn Rail, October 5th 2015.
“Mariam Ghani.” Interview with Piedad Solans, M: Arte y Cultura Visual, September 1st, 2015.
“Artist Mariam Ghani Addresses Ferguson, Borders, and Afghan Women.” Interview with Amy Goodman, Democracy Now, August 12th, 2015.
Thinking Through Digital Media: Transnational Environments and Locative Places. Dale Hudson and Patricia R. Zimmerman, Macmillan, 2015.
“Social Justice in the Studio and on the Street: Art and Activism at Franklin Street Works.” Danilo Machado, Artcritical, July 6th, 2015.
“The Arts Have the Power to Heal.” Nancy Kranzberg, St. Louis Public Radio, July 2nd, 2015.
“Mariam Ghani.” Ona Abelis, [wherever], June 17th, 2015.
“Modern Art Notes No. 184: Remembering Chris Burden, Mariam Ghani.” Interview with Tyler Green for the Modern Art Notes podcast, May 14th, 2015.
“Mariam Ghani explores two cities in one.” Sarah Bryan Miller, St. Louis Post-Dispatch, April 28th, 2015.
“Currents 110: Mariam Ghani at the St. Louis Art Museum.” HECTV, April 13th, 2015.
“Artist examines St. Louis’ divisions in new exhibition at St. Louis Art Museum.” Willis Ryder Arnold, Cityscape, St. Louis Public Radio, April 10th, 2015.
“Images of War Outside The Frame.” Jeremy Polacek, Hyperallergic, March 20th, 2015.
“Balancing Two Worlds.” Interview with David Schuster, Al Jazeera America, aired March 12th, 2015.
“As Above, So Below: Mariam Ghani Unites Landscape and History.” Mostafa Heddaya, ArtInfo, February 27th, 2015.
“Art, Politics and a Famous Father.” Liz Robbins, The New York Times, February 20th, 2015.
“Curator Amy Mackie returns to Anchorage with an engrossing, challenging installation.” Mike Dunham, Alaska Dispatch News, February 12th, 2015.
“L’arte di Mariam Ghani e l’utopia del non finito.” Interview with Valentina Montisci and Antonio Cipriani. Globalist, September 29th, 2014.
“Asedios post Google Earth.” Roberta Bosco, El Pais, September 28th, 2014.
“Aproximacions als setges contemporanis.” Maria Gracia Larrégola, Nuvol, September 23rd, 2014.
“El arte como resistencia.” Natalia Farré, El Periodico, September 17th, 2014.
“Els setges contemporanis a través de l’art i el debat.” ACN, September 16th, 2014.
“El CCCB reflexiona sobre los asedios.” La Vanguardia, September 16th, 2014.
“How L.A.’s Islamic art shows might expand our ‘Middle East’ vision.” Carolina A. Miranda, LA Times, August 6th, 2014.
Art and Politics Now. Anthony Downey, Thames & Hudson, 2014.
“Genius loci, stedets ånd.” Sigrun Hodne, Stavanger Aftenbladet, May 13th, 2014.
“Radical Archive Fever.” Mostafa Heddaya, Hyperallergic, April 12th, 2014.
“Biblioteca virtual.” Ramón Esparza, El Cultural, March 28th, 2014.
“Digital Effects.” Megan Heuer, Art in America, September 2013.
“Interview with Mariam Ghani.” Zohra Saed, Asian American Literary Review, Vol. 4, No. 2, Autumn 2013.
“Island of happiness? Artist Mariam Ghani on art and exploitation in Abu Dhabi.” Jeffrey Grunthaner, Art Radar Asia, August 2013.
“Absolute Democracy.” Ellen Feiss, Frieze d/e, Winter 2013.
“Artists of a Moulting World.” Meera Menezes, Art India, February 2013.
“Heiser im Kopf – Acts of Voicing: Uber die Politiken und Poetiken der Stimme in Stuttgart.” Neues Deutschland, November 8th, 2012.
“Weites Feld – Klares Struktur.” Nora Theiss, Art Magazine (Austria), October 12th, 2012.
“rotor – Izložba – ‘Absolute Democracy (Apsolutna demokracija).'” Robert Tabula, Film Mag, September 30th, 2012.
“dOCUMENTA (13).” Julia Herzberg, Arte al Dia vol 16, no 8, fall 2012.
“Une documenta historique.” Emmanuelle Lequeux, Beaux Arts, Fall 2012.
“dOCUMENTA (13): Collapse and Recovery.” Pascale Viscardy, L’Art Même No. 56, Fall 2012.
“dOCUMENTA (13) – Kassel.” Maria Nadotti, Doppiozero, Fall 2012.
“Zusammenbruch und Neubeginn.” Rudolf Schmitz, Deutschland Radio, September 1st, 2012.
“Kasseler Kunsttherapie für Afghanistan.” Christian Saehrendt, Neue Zürcher Zeitung, 8/6/12.
“Profile: Mariam Ghani.” Tess Thackara, Art Practical 3.19, July 2012.
“Mein Lieblingskunstwerk: Mariam Ghani’s A Brief History of Collapses.” Olaf Dellit, Hessische/Niedersächsische Allgemeine, July 29th, 2012.
“La Documenta de Kassel s’attaque au thème de la destruction.” Elisabeth Chardon, Le Temps (Geneva), July 7th, 2012.
“The Afghan Seminars – documenta 13.” Anne Blood, Studio International, July 7th, 2012.
“dOCUMENTA (13) i Kassel.” Magnus Bons, Konsten, July 3rd, 2012, republished in Kunstforum.
“Die Kassler Documenta im Kabul: Die Kunst als Aufbauhelfer.” Ingo Arend, Die Tageszeitung, June 26th, 2012.
“Arranca dOCUMENTA (13) in Kabul.” Javier Hontoria, El Mundo, June 20th, 2012.
“dOKUMENTA (13) – världens viktigaste konstutställning?” Mårten Arndtzén and Cecilia Blomberg, Sveriges Radio, aired June 16th, 2012.
“documenta – 100 Tage Kunst.” Jeanette Kunsmann, BauNetzWoche No. 274, June 15th, 2012.
“Die documenta 13: Zusammenbruch und Wiederaufbau.” Natascha Pflaumbaum, ARTE, aired June 13th, 2012.
“Documenta 13.” Ana Teixeira Pinto, Art Agenda, June 10th, 2012.
“Documenta: Verschrankt bis zum Umfallen.” Almuth Spiegler, Die Presse, June 8th, 2012.
“Live von dOCUMENTA (13) aus Kassel.” Joana Ortman, Bayern Radio 2, aired June 10th, 2012.
“So geht moderne kunst.” Hans Joachim Müller, Die Welt, June 7th, 2012.
“Die Welt, die wir nicht betreten werden.” Swantje Karich, Frankfurter Allgemeine Zeitung, June 5th, 2012.
“dOCUMENTA (13) Rundgang.” Brigitte Werneburg, Interview Germany, June 2012.
“Interview with Mariam Ghani.” Charles Schultz, ArtSlant, June 2012.
“Mariam Ghani: A Brief History of Collapses.” Amy Mackie, Nafas, June 2012.
“Documenta 2012: Mariam Ghani.” Pamela Axmann, Art: Das Kunstmagazin, June 2012.
“Nächster Halt: Weltkunstschau.” Silke Hohmann, Monopol, June 2012.
“A Broader Cultural Dialogue: A Discussion on Mapping and Cosmology.” Lea Rekow and Tom Leeser, Viralnet: Radical Cosmologies, Fall 2011.
“Yet another eye opener from the region.” Emīn Mahīr Balcioğlu, Hurriyet, April 3rd, 2011.
“Dances with wolves: four questions for Mariam Ghani.” Muhammad Yusuf, Gulf News Today. February 17th, 2011.
“CEPA displays the profound, provocative ‘Art of War.'” Colin Dabkowski, Buffalo News, June 27th, 2010.
“Ausstellungen: Wozu ist Kulturaustauch gut?” Gabriele Hoffman, Stuttgarter Zeitung, May 4th, 2010.
Gayatri Gopinath, “Archive, Affect and the Everyday: Queer Diasporic Re-Visions” in Janet Staiger, Ann Cvetkovich, Ann Reynolds, eds., Political Emotions: New Agendas in Communication. Routledge, 2010.
“Warming Up Records: Archives, Memory, Power and Index of the Disappeared.” Alice Royer, InterActions: UCLA Journal of Education and Information Studies, 6(1), January 25th, 2010.
“Kunst zum Mauerfall, Teil VII: New Yorks Mauerfall.” Wenke Hussman, Die Zeit Online, November 9th, 2009.
“Interview with Mariam Ghani.” Nanette Hooslag for Visual Correspondents, October 26th, 2009.
“CEPA Gallery’s Three-Month Show is the Talk of the Town.” Colin Dabkowski, Buffalo News, September 11th, 2009.
“Future Diagnostics at the Sharjah Biennial 2009.” Srimoyee Mitra, FUSE vol. 32, #4, September 2009.
“Artists in Exile.” Review by Meenakshi Thirukode. Art Asia Pacific #64, July/August 2009.
“Sharjah Biennial 9.” Review by November Paynter. Art Asia Pacific #64, July/August 2009.
“9e Biennale de Sharjah: Provisions for the Future.” Review by Cécilia Bezzan. Kunsthart #50, April 16th, 2009.
“Sharjah Biennial: Open invitation to artists leads to focused and evocative show.” Review by Louisa Buck. The Art Newspaper, March 25th, 2009.
“The United Arab Emirates’ Grand Designs.” Sara Raza, Art Asia Pacific issue 62, March/April 2009.
Living Traditions: Contemporary Art from Afghanistan, Iran and Pakistan. Essay by Constance Wyndham. Kabul: Turquoise Mountain, 2009.
Younger than Jesus: the Artist Directory. New York: New Museum/Phaidon, 2009.
“Paisajes del duelo: en los microcampos de la utopía. Arte y colaboración en las práticas artísticas contemporáneas.” Jorge Varela, Revista Abrente, Num. 40/41 (2008/2009).
“Democracy in America: The National Campaign: New York.” Review by Natalie Bell. Art Papers, November/December 2008.
“Armory Show Explores ‘Democracy in America.'” Siddhartha Mitter, WNYC, September 24th, 2008.
A Guide to Democracy in America. New York: Creative Time Books, 2008.
“Artists against war.” Gargi Gupta, Business Standard, New Delhi, August 30th, 2008.
“Sign Language as Politics.” Review by Heather Diack. Afterimage Vol. 35, No. 5, Spring 2008.
“Undisclosed Recipients: database documentaries and the Internet.” Dale Hudson, Studies in Documentary Film, vol 2 issue 1, pp. 79–98. doi: 10.1386/sdf.2.1.79/1
“Tracing the Index: Impossible Archives.” B. Blagojevic, ArtCal Zine, February 2008.
“Bijna allemal Hazara.” Herman Rosenberg, AD.nl, February 27th, 2008.
“The Unsuitable Girls Grow Up.” Lavina Melwani, Little India, October 3rd, 2007.
“25 Years Later: Welcome to Art in General.” Review by Benjamin Genocchio, The New York Times, August 31st, 2007.
“Corporate Culture.” Elisa Niemack, The New York Sun, August 14th, 2007.
“Ansichten des alten und neuen Europas.” Dietrich Heißenbüttel, Stuttgarter Zeitung, June 19th, 2007.
“Art in Review: Spectral Evidence.” Review by Holland Cotter, The New York Times, February 23rd, 2007.
“Critic’s Picks: Spectral Evidence.” Review by Lori Cole, Artforum.com, February 16th, 2007.
Encyclopedia of Arab American Art. Edited by Fayeq S. Oweis. NH: Greenwood, 2007.
New York, Of Course. Text by Ralph Herrmans. Stockholm: Wetterling Gallery, 2007.
“Writing Politics on Your Flesh: An Interview with Mariam Ghani.” Tom Leeser and Beth Rosenberg, Viralnet, Issue Viralzerosix. Los Angeles: Center for Integrated Media, CalArts, May 2006.
“Moving Time: A Tribute to Nam June Paik.” Review by Harry Perlmutter, Art Asia Pacific Issue 49, Summer 2006.
“Kabul: Reconstructions.” Review by Shaheen Rassoul, NYArts Magazine Vol. 11, No. 5/6, May/June 2006.
“The Idea of ‘Illegality’: Sarai Reader 05: Bare Acts.” Nivedita Menon, Economic and Political Weekly, November 26th, 2005.
“Piecing it Together: Storytelling in the Digital Age.” David Alm, The Independent, Vol. 28, No. 8. October 2005.
“U.S. Exhibition Depicts Realities of Life for Arab Americans.” Ramsay Short, The Daily Star (Beirut), October 13th, 2005.
“Artists Seek to Fill 9/11 Voids.” Christine Lagorio, CBSNews.com, September 12th, 2005.
“IN/VISIBLE Art Exhibition Inaugurates Arab American National Museum.” Maymanah Farhat, The Washington Report on Middle East Affairs, Vol. XXIV, No. 6. August 2005.
“In/Visible: Contemporary Art by Arab-American Artists.” Contemporary Art from the Islamic World, Issue 11, July 2005.
“Fast Tracks: Brooklyn, Brooklyn and BROOKLin VIDEO.” Review by Lizzy Le Quesne, The Prague Post, July 7th, 2005.
“Transnational Artists: Arab American Artists Remapping the Boundaries of Art.” Essay by Salwa Mikdadi in Neighbors in Dialogue, ed. Beral Madra and Aype Orhun Gültekin. Istanbul: Norgunk Yayyncylyk, 2005.
“Detroit Iraq City.” Edward Houghton, The Fader Issue 31, May/June 2005. (preview of Points of Proof Detroit edition)
“Revealing the Unseen: Mariam Ghani.” David Alm. RES vol. 8, no. 2: Coming Up / New Talent. March/April 2005. (cover/lead article)
“Women + Political Power.” BBC Persian radio series produced by Yassaman Ameri, February 2005.
“Contemporary Art in Central Asia.” Essay by Leeza Ahmady with work from the Contemporaneity exhibition. Lemar – Aftaab | afghanmagazine.com, July 2004.
“In an Unrecognizable and Unrecognized Central Asia.” Marshall Swatt interview with Leeza Ahmady. NYArts Magazine, July/August 2004.
“The Art + Artists of the Year.” Roberta Smith, The New York Times, December 28th, 2003.
“Kabul: Reconstructions.” Melissa Hibbard, ArteNews Issue 2 (Winter 2003-04)
“Pluralidade em Curtas.” Dominique Valansi. Estaçao Virtual, December 2003.
“Cineasta registra a difícil reconstrução do Afeganistão.” Cristina Azevedo. O Globo, December 1st, 2003.
“Tamanho não é documento.” O Dia, November 27th, 2003.
“Personal Work & Videogames in the Spotlight at 2003 New York Video Festival.” Eugene Hernandez, Indiewire, July 15th, 2003.
“Exit Biennial: The Reconstruction.” Review by William Powhida. The Brooklyn Rail, June-July 2003.
“Mariam Ghani’s Kabul: Reconstructions.” Profile & interview with Yassaman Ameri on This Week In New York. BBC World Service Farsi radio broadcast, May 28, 2003. Text article published on BBC Persian website, June 2003.
“Kunst Gegen Krieg.” Markus Wieland, Falter No. 16, April 2003.
“A Space Reborn, With A Show That’s Never Finished.” Roberta Smith, The New York Times, April 4th, 2003.
“Victory Dance: A New Fashion-Art Collective Turns Out the Season’s Must-Have Book.” Article by Janet Ozzard. Style.com, June 24th, 2002.
“Mango.” Review by Holland Cotter, The New York Times, June 22nd, 2002.

“A Beautiful Stillness.” Panel with Maria Molteni, Cauleen Smith, & Erin Ellen Kelly, American Folk Art Museum/online, December 19th, 2024.
“Visualizing Linguistic Diversity.” Panel with Ross Perlin at the Lexicons of Migration conference, Bennington College, VT, November 5th, 2022.
Speculative Histories. Guest lecture for Potentials of Speculation series at HAW Hamburg, Germany/online, June 22, 2021.
Revisiting the Lost Era of Film from Afghanistan. Talk with Chanel Kong. M+ Museum, Hong Kong/online, March 16th, 2021.
Art Past Present. Online discussion with Farrah Karapetian and Joes Segal. Wende Museum, LA/online, November 18th, 2020.
Pivoting Through the Pause. Online panel with Jill Campbell, Dawn Porter, and Geeta Gandbhir. Film Fatales/Sundance Co//ab, October 26th, 2020.
The Art of Archival. Online panel with Shola Lynch, Lia Jusino, Candice Murray, and Carla Gutierrez. DOC NYC Pro, October 7th, 2020.
Decoding the Gaze: Iconography and the Algorithm. Symposium at The Photographers Gallery, London, November 29th, 2019.
Metaphor and Illness. Discussion with microbiologist Jayne Raper, epidemiologist Rodrick Wallace, and ecologist Deborah Wallace. New York Public Library, April 3rd, 2019.
Archival Propaganda in Film. Screening and talk with Jen Liu. Asia Art Archive in America, December 6th, 2018.
Revisiting Archive in the Aftermath of Revolution. Symposium at the HKW, Berlin, October 26th-28th, 2018.
Invisible Images. Screening with Q&A moderated by Xiaoyu Weng. April 5th, 2018, UnionDocs, NYC.
FWD:RE:ARCHIVE. Pad.ma 10th anniversary symposium. March 9th-10th, 2018, Goethe Institute, Mumbai.
Net Art Anthology: Distribution and Disappearance After 9/11, with Michael Connor, Aria Dean, David Joselit, and Eva and Franco Mattes. November 3rd, 2017, New Museum, NYC.
“How to Win by Losing,” with Vince Warren and Amara Antilla, as part of the Summer of Know series. August 8th, 2017, Guggenheim Museum, NYC.
“Assuming Boycott: Resistance, Agency and Cultural Production,” with Carin Kuoni, Kareem Estefan, Laura Raicovich, Chelsea Haines and Claire Potter. Vera List Center for Art and Politics, NYC.
“Position,” with Jamie Shearn Coan, Chitra Ganesh and Kaneza Schaal, as part of The Kitchen L.A.B. Conference. April 20th, 2017, The Kitchen, NYC.
“Speculative Histories” seminar as part of the Cargos and Carriers: Sites, Zones, Borders interdisciplinary masterclass series. April 11th-12th, 2017, University of Houston, TX.
Art and Refugees: Confronting Conflict with Visual Elements, with Wafaa Bilal, Molly Crabapple and Sultan al-Qassemi. Co-presented by the UNHCR. April 5th, 2017, NYU.
Topographies of Mass Violence, the Max and Iris Stern International Symposium. April 1st, 2017, Musée d’art contemporain de Montréal.
“Afghanistan 1986/2016” with Meenakshi Thirukode. March 1st, 2017, Center for Research Architecture, Goldsmiths College.
“What Now: The Artist-Writer as Activist-Critic,” with Greg Sholette, Pablo Helguera and Jennifer Liese. December 10th, 2016, at e-Flux.
“Seeing Law” at the Synesthesia of Law conference, with Chitra Ganesh, Eyal Weizman & Thomas Y. Levin. October 1st, 2016, Princeton University.
“Words on Terror: Celebrating Solmaz Sharif’s Look,” with Solmaz Sharif, Cathy Park Hong, and Rickey Laurentiis. July 20th, 2016, at the Asian American Writers Workshop.
“Visualizing Warm Data: A Roundtable,” with Josh Begley (The Intercept), Bradley Samuels (SITU Research), and Nancy Nowacek (Citizen Bridge), curated by Eyebeam and co-moderated by David Xu Borgonjon. July 10th, 2016 at the Queens Museum of Art.
“Migratory People, Migratory Images.” Symposium organized by the Transdisciplinary Aesthetics Foundation, with Mieke Bal, T.J. Demos, Miguel Angel Hernandez-Navarro, Olga Jitlina, Nina Katchadourian, Luka Lucic, Eve Meltzer, Ahmet Ögüt, Ihab Saloul, and Saskia Sassen. June 17th-18th, Grimm-Zentrum, Humboldt-Universität zu Berlin.
Juncture: Art + International Human Rights symposium. With Carolyn Forché, Amalia Pica, Dipika Gupta, Ramzi Kassem, Alexis Agathocleous, Chitra Ganesh. April 7th-8th, 2016, Yale Law School.
“On reenactment and performing the archive,” with Kate Valk, Zoe Beloff, Kaegan Sparks, and Johanna Burton. February 28th at Momenta Art.
“What we left unfinished” with Eng. Latif Ahmadi. February 18th, 2016, at the Berlinale Forum Expanded.
“The Political Unconsciousness of Art Writing,” with Geeta Kapur, Nabil Ahmed, Ovul Durmosuglu, and Rosa Martinez. February 7th, 2016, Critical Writing Ensembles, Dhaka Art Summit.
“Index of the Disappeared: The Guantanamo Effect.” Lecture-performance with Chitra Ganesh for the Fragments of Empire conference, January 14th, 2016, CASAR, American University of Beirut.
“Artists With(in) Activist Movements” with Mary Patten, October 9th, 2015, at the School of the Art Institute of Chicago.
“Exhibitions as Tools for Writing History” with Iris Dressler, Osei Bonsu, Simon Soon and Cosmin Costinas, at the ParaSite International Conference, October 6th-7th, 2015, Hong Kong.
Archival Impulse: Collecting and Archiving Moving Image in Asia.  Conference organized by MoMA C-MAP, Asia Art Archive and Collaborative Cataloging Japan, September 21st, 2015, MoMA.
Artists Roundtable: Fragmented Narratives. Discussion on the process and politics of collaboration with Chitra Ganesh, Mariam Ghani, and Chris Myers. May 7th, 2015, Brooklyn Museum, NYC.
The Creative Time Summit: Stockholm. Presented a talk on ‘What we left unfinished’ and Afghanistan’s national imaginaries as part of the Nationalisms section. November 13th-15th, 2014, Kulturhuset, Stockholm.
Collective (Dis)Engagement. April 5th, 2014. Panel discussion with Mariam Ghani, Sean Jacobs, Sergio Muñoz Sarmiento, Laura Raicovich and Sonja Srdanovic, moderated by Nitin Sawhney. Part of the Vera List Center / Art in General conference What Now? Collaboration and Collectivity.
SPAN. January 18th, 2014. Organized by Randy Martin as part of PS122’s COIL Festival.
Index of the Disappeared. October 10th, 2013, NYU Silver Center. Moderated by Gayatri Gopinath.
In Dialogue: Drop A Pin. Mariam Ghani, Inti Guerrero, James T. Hong, Gimhongsook. September 21st, 2013, CCA Wattis Institute, San Francisco.
Aesthetics of Engagement. Panel with Carlos Motta, Eva Diaz, & Mariam Ghani, moderated by Ann Messner. April 9th, 2013. Pratt Institute, NYC.
Pixelated Politics. Panel with Mariam Ghani, Lev Manovich, Nick Mirzoeff, Christiane Paul, and McKenzie Wark moderated by Natalie Musteata April 8th, 2013. Graduate Center, CUNY.
Critical Language: A Forum on International Art English. With Alix Rule, David Levine, Alex Provan, Lumi Tan, Mostafa Heddaya, Lauren Cornell, Mariam Ghani. April 6th, 2013. Triple Canopy, NYC.
Memories Can’t Wait. Discussion with Pradeep Dalal as part of the two-day symposium, co-organized by Bard CCS and ICP. December 15th, 2013. International Center of Photography, NYC.
“The dance was very frenetic… and lasted a long time.” Panel with Carolyn Christov-Bakargiev, Mariam Ghani, Mike Rakowitz and Joan Jonas. October 20th, 2012. Cooper Union, NYC.
Forms of Democracy: Activism, Art, and Cultural Production. Panel with Jennifer Gonzalez, Ultra-Red, Miguel Lopez, Mariam Ghani, & Nikolay Oleinikov, organized and moderated by Carlos Motta. Part of Truth is Concrete conference at the 2012 steirischer herbst festival. Graz, Austria.
Order and Chaos. With Marcel Moring, Mariam Ghani, and music by Iannis Xenakis. September 12th, 2012. Stedelijk Museum and Royal Concertgebouw Orchestra, Amsterdam.
In Conversation: Mariam Ghani and Leeza Ahmady. July 21st, 2012. Asian Art Museum, San Francisco.
The Kabul-Bamiyan Seminars: A Conference. Moderated by Chus Martinez and Carolyn Christov-Bakargiev. June 8th, 2012. Standehaus, Kassel.
Dialogues in Contemporary Asian Art, Take Two. Discussion and notebook launch with Leeza Ahmady. May 8th, 2012. Independent Curators International, New York.
What is Conflict? Talk in documenta’s Maybe Education series, April 25th, 2012.
Living as Form: Spectacle and Participation. Talk by Claire Bishop, moderated by Mariam Ghani, to inaugurate Creative Time’s Living as Form project. May 26th, 2011. Cooper Union, NYC.
Engaging Afghanistan. Conference organized by Michael Kennedy & Shiva Balaghi. May 5th-7th, 2011. Watson Institute for International Studies, Brown University.
Archiving the Ephemeral. Panel organized by Hollis Mickey & Rebecca Schneider, with Index of the Disappeared, Corin Hewitt and Patricia Phillips. April 7th, 2011, Brown University.
Frames of Violence. Symposium, April 15th-18th, 2010. University of Minnesota.
Landscape Studies. Performance and talk with Mariam Ghani and Erin Ellen Kelly, moderated by New Museum Curatorial Associate Amy Mackie. February 7th, 2010. Momenta Art, NYC.
The Politics of Space in a Constructed Identity: The Sharjah Biennial in Context. Panel discussion with Sheela Gowda, Nikolaj Larsen, Maider Lopez, Erin Kelly & Mariam Ghani, and biennial curator Isabel Carlos, moderated by Nadia Mounajjed and Mona El-Mousfy of the American University of Sharjah. March 20th, 2009. Dar Al Nadwa, Sharjah, UAE.
Surveillance, Power and Control: Who’s zooming who? Panel discussion with Naeem Mohaiemen and Julia Townsend, moderated by Sara Raza. March 16th, 2009. BAF Art School, Bastakiya Art Fair, Dubai, UAE.
(Un)Patriot Acts: Arts, Activism and The Politics of Artmaking After 9/11. Panel discussion with Karen Finley, Steve Kurtz, Rebecca Schneider, and Index of the Disappeared (Chitra Ganesh + Mariam Ghani), moderated by Karen Shimawaka. September 16th, 2008. Center for Art + Public Policy and Center for the Study of Gender + Sexuality, NYU, NYC.
Four Perspectives from SAWCC Artists. Artist talk with Samira Abbassy, Mareena Daredia, Sara Rahbar, and Sa’dia Rehman, moderated by Mariam Ghani. June 7th, 2008. Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.
Law and Visual Resistance. Index of the Disappeared talk for South Asian Bar Association dinner series, moderated by Fordham law professor Sonya Katyal. May 7th, 2008.
Affective Circuits: Technology, Sex, Politics. April 9th, 2008. Mini-workshop with Susanna Passonen, Mary Flanagan + Mariam Ghani, organized by Maria Fernandez at Cornell University, Ithaca, NY.
Girls of the Third Situ8ionist International Summit (G3SIS). Closed-door roundtable discussion transmitted as podcast to Berlin’s Super Bien! gallery as part of the 2007 Conflux festival. The participants in this alternative G8 summit/situationist tribute were Mariam Ghani, Julie Atlas Muz, Jana Leo, Radhika Subramanian, Kate Werble, Tianna Kennedy, Anat Egbi and Xaviera Simmons. September 16th, 2007. NGC Gallery, NYC.
The Sun Has Gone Under: Lebanese-American Artists on Art. Panel with John Jurayj and Sumaya Samaha, moderated by Doug Sheer and Shiva Balaghi. February 2nd, 2007. Artist Talk on Art lecture series, School of Visual Arts, NYC.
IN/VISIBLE and the Inauguration of the Arab American National Museum. Roundtable with Salwa Mikdadi, Joe Namy and Summaya Samaha, moderated by Shiva Balaghi. September 19th, 2005. Kevorkian Center for Middle East Studies, NYU, NYC.
Cities, Art + Recovery: The Art of Aftermath. After Effects artist talk with Chitra Ganesh, Pia Lindman, Conor McGrady, and Amie Siegel. Moderated by Erin Donelly of LMCC. Sunday, September 11th, 2005. Tribeca Performing Arts Center, NYC.
Sites in Translation. Discussion organized and moderated as guest co-moderator for month of September, with Ricardo Miranda Zuñiga, Angel Nevarez, Lana Lin and Lan Thao Lam. -empyre- new media discussion list.
“Representation and Reception.” Panel discussion with Ayreen Anastas and Abdelali Dahrouch, moderated by Sarah Rogers. New Forms and Meanings: A Symposium on Contemporary Arab-American Art. May 19th – 21st, 2005. Arab American National Museum, Dearborn, MI.
Paul Chan and Mariam Ghani: Art, War + Activism. Roundtable moderated by Shiva Balaghi. March 4th, 2005. Kevorkian Center for Middle East Studies and Center for Media, Culture + History, NYU, NYC.
“Creative Alliances for Effective Activism.” Workshop/panel led with Chitra Ganesh. And So Forth: A Post-Inaugural Assembly, organized by the Amnesty International Firefly Project. January 23rd, 2005. Office Ops, NYC.
Seeing Through Afghanistan: Afghanistan Re-Viewed Through Music + Film. March 26th-28th, 2004. Wesleyan University, CT. (solo screening, performance + lecture within three-day event)
Arab-American Artists + the Legacy of Edward Said. Roundtable moderated by Shiva Balaghi. September 25th, 2004. Kevorkian Center for Middle East Studies, NYU, NYC.
ACCESS ZONE 0.3. Artist in the Marketplace artist talk and panel. September 7th, 2003. Bronx Museum of the Arts, NYC.
[BLANK]: In Pursuit of an American History. Panel discussion with Stephanie Dinkins (moderator), Jefferson Pinder, Karina Aguilera Skvirsky, Tracey Walters, Scott Neumann, and Christian Rogers. February 11th, 2003. Stony Brook University, Long Island, NY.

Fall 2018-present: permanent Film/Video faculty at Bennington College.
Spring 18-Spring 19: Visiting Scholar at the Center for the Humanities, Graduate Center, CUNY.
Winter 18: Workshop for PhD students as part of the “Sensible Cinema” seminar at Birkbeck and Goldsmiths Colleges, London.
Fall 15-Fall 17: Teaching a seminar on “Archives & Repertoires” in the MFA Social Practice program at Queens College (F15) and the Grad Center (S16), CUNY, and an advanced undergrad course on digital photography and hybrid imaging practices in the Queens Art department.
Summer 17: Master class for “Rewriting Criticism” seminar at Townhouse Gallery, Cairo.
Fall 16-Spring 17: Teaching Video I at Cooper Union and advanced digital photography/graduate photography at Queens College.
Fall 14-Spring 15: Teaching one-month graduate seminars and conducting intensive critiques for MFA students at Washington University in St. Louis as the resident Freund Fellow.
Spring 14:  Teaching a master class on research as practice at the Beirut Art Center, and a master class on translation as/and/in art in ProArte’s post-grad program in St. Petersburg, Russia, culminating in a group exhibition as part of the 2014 Manifesta parallel program.
Fall 13:  Adjunct Associate Professor, Pratt Institute, NYC. Teaching course on research-based practices for MFA Fine Arts students.
Fall 12-Spring 14:  Visiting Scholar, Asian Pacific American Institute, New York University, NYC.
Spring/Fall 2011: Designed, raised funds for and teaching a series of intensive 1-month workshops for college-level fine arts students at the Center for Contemporary Arts Afghanistan in Kabul.
Spring 09-Fall 10:  Adjunct Instructor, Cooper Union. Taught Video I course.
Spring 2010:  Adjunct Instructor, Parsons the New School for Design. Taught required Theory, Practice and Career course for senior BFA students.
Spring 09/Fall 10:  Adjunct Instructor, Art & Public Policy, New York University, NYC. Designed & taught new seminar on artists and public dialogue for Arts Politics M.A. students, which included a collaboration with the New Museum and artist Jeremy Deller, enabling students to work on his new project “It is What it Is: Conversations About the War in Iraq.”
Fall 05 – Spring 09: Adjunct Lecturer, Art + Technology program, Stevens Institute of Technology. Developed curriculum for and taught video studio sequence, net art studio, advanced digital imaging studio, and media theory survey courses (2005-08); supervised senior tutorials (self-directed research on topics in art and technology), thesis projects, and thesis papers (2008-09).
Spring 2008: Visiting Lecturer, MFA Public Practices, Otis College of Art + Design. Taught one-week workshop on new genre public practices for MFA students with studio visits / individual crits.
Spring 2004/5: Visiting Artist/MFA Thesis Adviser, MFA Computer Arts Department, School of Visual Arts, New York.
Winter 2004: Teaching Artist, Girls-Eye-View, Eyebeam Atelier. Designed and taught six-week class in the Girls-Eye-View after-school program for sixth-graders from School of the Future.
Guest lectures / crits: Cornell University, Columbia University, Hunter College, SVA MFA Fine Arts, Massachusetts College of Art, CalArts, CCA, Bard CCS, Royal College of Art, Hampshire College, Syracuse University, AiB@Lesley, Vermont College of Fine Arts, UC Berkeley, SUNY Purchase, Michigan State, Oregon State, The College of New Jersey, AICAD NYC Studio program, NY Arts Practicum, Duke University/Creative Time MOOC.
PhD viva voce examiner: Forensic Architecture, Goldsmiths College, London.

Fall 2014: Utopian Pulse: Flares in the Darkroom. One of 7 artist-curators invited to produce a billboard for the façade, organize a week-long exhibition, and contribute to a publication as part of the project Utopian Pulse at Secession in Vienna.

Spring 2014: Radical Archives. A two-day international conference at NYU with performances, panels and screenings, exploring archiving as a radical practice. Organized with Chitra Ganesh, hosted by the A/P/A Institute, and co-presented by Archives & Public History, the Moving Image Archives Program, the Hemispheric Institute, the Humanities Initiative and the Asia Art Archive. Online catalogue, with audio podcasts available via Creative Time Reports and video on Pad.ma.

Fall 2013-spring 2014: Mini-version of History of Histories series touring to venues including the CCA Wattis Institute in San Francisco, as part of Asian Contemporary Art Week, and the College of New Jersey.

Spring 2013: History of Histories / The Red Tapes, 1977-79. Screening series at the Guggenheim Museum NYC, co-organized with Leeza Ahmady, and a symposium at NYU’s Asian Pacific American Institute, both in conjunction with the exhibition No Country: Contemporary Art for South and Southeast Asia, curated by June Yap. The screening series included a selection of historical films from the Afghan Films archive along with more recent shorts and a feature by Barmak Akram. The Red Tapes symposium included screening and discussion of films that mine archives to examine histories of the radical left in Central and South Asia.

Fall 2009: Conversation Pieces. Exhibition, public program series, and public projects co-organized with Sean Donaher for CEPA Gallery in Buffalo, NY, bringing together emerging artists who who stage, subvert, provoke, intervene in or document public dialogues. With Carlos Motta, Oliver Ressler, Sharon Hayes, Lex Bhagat, Stephanie Rothenberg, Nina Leo & Stefani Bardin, the GuerrillaGirlsBroadBand, Heather Dewey-Hagborg, and InCUBATE, Material Exchange & Adam Bobbette. Includes a 5-part screening series, a performance series, two poster projects for public bus shelters, three co-sponsored lectures, and a 156-page exhibition reader.

Spring 2008: Tracing the Index: 4 Discussions, 4 Venues. Series of public programs organized with Chitra Ganesh and co-presented by the Vera List Center for Art + Politics at the New School, NYU’s Kevorkian Institute for Near Eastern Studies, Center for Media, Culture and History, and Center for Media and Religion, Art in General, and the Bronx Museum of the Arts (in conjunction with the exhibition Making It Together: Women’s Collaborative Art and Community) on themes related to our collaborative project Index of the Disappeared, all of which will be recorded, added to the Index archive, and eventually transcribed to become part of an Index publication. Included 16-page program notes.

September – November 2007: Index of the Disappeared: Public Program Series 07. Series of public programs organized with Chitra Ganesh in conjunction with the presentation of the Index archive at UBS for the 25 Years Later show. Programs will include a library orientation and storytelling session, a screening, and a panel discussion on the theme of archiving unspeakable or censored materials.

January – May 2007: Focus on Lebanon, a series of public programs co-presented by the Kevorkian Center for Middle East Studies at NYU and arts organizations across the city. Co-organized with artists John Jurayj, Sumaya Samaha, and Walid Raad, writers Elias Khoury and Jacque Moorad, filmmaker Tom McCarthy, and curators Rasha Salti and Shiva Balaghi.

Spring 2006: Detained, an exhibition and public program series at the Asian American Art Center exploring the communal convergences and conversions and the political and spiritual issues raised across the ethnic boundary lines of Arab and Asian by the story of Captain James Yee, the Asian-American U.S. Army chaplain at Guantanamo Bay who converted to Islam, married a Muslim Arab, and was then detained himself for two years under suspicion of treason. Co-organized with artists Tina LaPorta, Trong Nguyen, and Tomie Arai, Rabab Abdulhadi of the Arab American Studies Center at the University of Michigan, and Bob Lee of the Asian American Art Center.

October 19th – 20th, 2000 at Exit Art: Coded Bodies, a two-day video and performance event featuring work by South Asian women that explored the coded meanings of the body through works examining traditional and non-traditional dress, private and public rituals, and body adornments and movements. Co-organized with Chitra Ganesh and Swati Khurana and co-presented by the South Asian Women’s Creative Collective. With program notes.

1999
Repeat Fugitive (1 channel, 9:00)
Looped (2 channels, 14:00)
2000
Shahrazade Divided (1 channel, 50:00)
Blind Crossing/Crossing Blind (2 channels, 3:10)
Universal Games (1 channel installation, 2:20)
2001
My Name on Your Lips (sounds so foreign) (2 channel installation, 3:30)
For Your Safety: Reasons to Stay Inside (1 channel, 12:00)
The Last Home Movie (2 channel installation, 3:00)
Armenia Dreams Gasoline (2 channels, 14:00)
Beirut Nocturne (1 channel, 3:50)
2002
Permanent Transit (1 channel surround sound installation, 24:00)
Friendly Fire (1 channel installation, 3:10)
2003
Kabul: Reconstructions (3 channel installation, 6:24)
Miraculous Dissolves (Performance in the Age of Martha Stewart Living) (1 channel installation, 5:00)
The Glass House Home Movies (4-in-1 channel video installation with 5-channel interactive audio, 15:00)
2004
TRACEXCHANGEXCAVATE (1 channel surround sound installation, 19:40,
collaboration with Emily Tepper & Michael Floyd)
How Do You See the Disappeared? (1 channel, 9:28)
2005
Kabul: Constitutions (3-channel interactive installation, 2:30:00)
Points of Proof: Detroit (1 channel installation, 34:00)
The Studio Visit (1 channel, 5:48)
2006
Fugitive Refrains (1 channel HD surround sound installation, 25:00, collaboration with Erin Ellen Kelly)
2007
Kabul 2, 3, 4 (3 channel installation, 13:00)
Three Surrenders (1 channel, 6:33, collaboration with EEK)
2008-9
Smile, you’re in Sharjah (1 channel HD surround sound installation, 24:40, collaboration with EEK, commissioned by the Sharjah Biennial 9)
Variations (on a Haunted Wood) (2 channel video, 4 channel audio projection for performance, 10:00, collaboration with EEK)
Points of Proof: Buffalo (1 channel HD installation, 26:05)
Going, Going, Gone (1 channel HD, 4:26, commissioned for public projections in Berlin)
2010
Landscape Studies: New Mexico (Strangers in a Stranger Land) (installation version RT 22:00 with 1 channel HD video, quadrophonic audio; performance version RT 27:00 with 1 channel HD video, recorded audio, live performance, and live narration; collaboration with EEK)
2011
The Trespassers (1 channel HD video, 4 channel audio installation, 1:45:00, commissioned by the Sharjah Biennial 10)
2012
A Brief History of Collapses (2 channel HD video, 7.1 channel audio, 22:10, commissioned by dOCUMENTA 13)
2013
To Live (1 channel HD video, 40:00, collaboration with EEK)
2014
Like Water from a Stone (1 channel HD video, 20:10, collaboration with EEK, commissioned by the Rogaland Kunstsenter)
2015
The City + The City (1 channel HD video, 28:50, collaboration with EEK, commissioned by the St. Louis Art Museum)
2016
The Seen Unseen (1 channel HD video, 12:30, collaboration with Chitra Ganesh)
2018
When the Spirits Moved Them, They Moved (3 channel 4K video, ambisonic audio installation, collaboration with EEK, camera and sound design by Adam Hogan)
2019
What We Left Unfinished (2K DCP, 5.1 ch sound, 71:00)
Dis-Ease (museum version, 1 channel HD video, 8:45, commissioned by the Wellcome Collection)
It’s a Disaster! (3-in-1 channel 4K video, 3:33, commissioned by the Tentacular Festival and the Eyebeam Center for the Future of Journalism)
2020
Follow the Leader (1 channel 2K video, 2:08)
2022
The Fire This Time (1 channel 4K video, 5.1 ch sound, 22:10, commissioned by Field of Vision)
2024
Dis-Ease (feature-length version, 2K DCP, spatialized 5.1 ch sound, 120 min)
2025
There’s a Hole in the World Where You Used to Be (1 channel 4K video, spatialized 5.1 ch sound, 15:31)

*Note that most multi-channel video installations also exist in single-channel or linear versions for screening. All are color and have stereo sound on each video channel unless otherwise specified. Fugitive Refrains, Landscape Studies: New Mexico, and A Brief History of Collapses all have spatialized surround scores by Qasim Naqvi. Like Water from a Stone, The City + The City and Follow the Leader have stereo scores by Qasim Naqvi. Smile, you’re in Sharjah has a spatialized surround score by zemi17/Aaron Taylor Kuffner. What We Left Unfinished and The Fire This Time have scores by Qasim Naqvi, sound design by Mariam Ghani & Stephen McLaughlin, and surround mixes by Stephen McLaughlin. The feature-length version of Dis-Ease has a score by Qasim Naqvi, sound design by Adam Hogan & Mariam Ghani, and a spatialized surround mix by Adam Hogan. There’s a Hole in the World has score by Qasim Naqvi and sound design/mix by Panos Chountoulidis.

In collaboration with programmer Ed Potter and the AINA Afghan Media Center in Kabul:
kabul-reconstructions.net
Active March 2003 – March 2005, relaunched in an expanded version in winter 2008

In collaboration with composer Qasim Naqvi, poet Zohra Saed, & programmer Ed Potter:
Permanent Transit: net.remix
Project commissioned by PS122 for the August 2004 issue of artwurl.org

In collaboration with programmers Rob Durbin & Ed Potter and visual artist Chitra Ganesh:
How Do You See the Disappeared? A Warm Database
A 2004 commission by Turbulence.org, funded by the Jerome Foundation and the NYC Department of Cultural Affairs
*The original site has many non-working parts; video documentation of the original site is here and Rhizome’s emulated version is here

Points of Proof
A 2006 Longwood Digital Matrix commission, based on an offline project commissioned by the Arab American National Museum for their inaugural exhibition in spring 2005

Prefabrinations
Project curated by Anais Lellouche and commissioned by Bard CCS for the 11/7/08 edition of www.sixyears.com

In collaboration with Chitra Ganesh, as Index of the Disappeared:
The Guantanamo Effect
Project commissioned by Creative Time Reports and co-presented by Alternet, April 2013

In collaboration with Effi Ibok, Josh Begley and the Endangered Language Alliance:
The Garden of Forked Tongues
Project commissioned by the Queens Museum of Art in conjunction with Nonstop Metropolis: The Remix, April 2016

*Please note that web projects produced 2+ years earlier are likely to have broken elements, as they are only occasionally updated for newer browsers.

Member, College Art Association; served on CAA Diversity Practices Committee, 2004 through 2007
Member, Film Fatales
Member, South Asian Women’s Creative Collective
Member, A-Doc
Member, Brown Girls Doc Mafia
Member, Phi Beta Kappa
Previously: board member, Momenta Art, advisory board member, CEC ArtsLink, and advisory board member, Creative Time Reports

Software – fluent: DaVinci Resolve, Adobe Creative Cloud (including Photoshop, Illustrator, Premiere Pro, AfterEffects, Audition, Media Encoder, Animate, InDesign and Acrobat Pro), Final Cut Pro, Final Cut X, VLC, QuickTime Pro, Keynote, Office, OpenOffice, Zotero, Slack, various (S)FTP helpers and markup editors, various open source tools e.g. ffmpegX, Spectacle, SpeedTrans
Software – familiar: Processing, Sketchup, ProTools, Avid
Programming and scripting: (X)HTML, CSS, Javascript, PHP, MySQL, AppleScript, Automator, WordPress, Bootstrap, JQuery, D3, Observable
Physical computing: Basic Stamp/Board of Education, MacBS2, PBasic, soldering, circuits, sensors, serial control
Misc: surround sound mixing, subtitle editing/authoring/wrapping, codecs & compression standards
Hardware: Macs & PCs; iOS; DV and HDV video cameras (Sony, Canon, Panasonic, JVC; 30, 25, and 24 fps); (H)DSLR cameras (Canon, Panasonic); photo and cine lenses; tape and card-based systems; DAT and Zoom audio recorders; Blackmagic Cintel telecine system; surround sound systems; Epson inkjet printers, large and small-scale; various mixers, amps, decks, drives, projectors, and scanners
Copy editing & proofreading experience including catalogue editing, fact checking (Village Voice 1999-2000), and work in the public policy sector (Overseas Development Institute, 2005-06, and Institute for State Effectiveness, 2007-08).
Grants writing, budgeting & prospect research experience including Foundation Center certificate course in proposal writing, 8 years of staff and freelance grants writing for non-profit art centers.
Languages: Fluent in Italian and French; working knowledge of German; some Spanish, Arabic and Dari.