Here is a list of artists whose work we will be watching in the coming year...
Genevieve Gaignard, Counter Fit, 2018, Chromogenic Print
Genevieve Gaignard works primarily with photographic self-portraiture where she dons costumes to embody different characters as a way to understand how they might navigate the world. She also creates installations representing her characters' imagined living spaces. Visits to local thrift shops ensure that her characters and environments are truly authentic. Furthermore, her work explores the complexities of racial identity, particularly as it relates to her own experience as a multi-racial woman. The daughter of a black father and white mother, Gaignard's youth was marked by a strong sense of invisibility.  She interrogates notions of "passing" in an effort to address questions of blackness vs whiteness, while challenging viewers to navigate the powers and anxieties of intersectional identity. 
Genevieve Gaignard,  
Synchronized, 2018, 
Chromogenic Print
Gaignard received her MFA in Photography from Yale University and her BFA in Photography from Massachusetts College of Art. She has exhibited throughout the United States, including shows at Studio Museum in Harlem, the California African American Museum in Los Angeles, and the Houston Center for Photography.  In 2017, her work was included in the Prospect4 Triennial in New Orleans. Her work is in the permanent collections of the Studio Museum in Harlem, California African American Museum, Pérez Art Museum in Miami, the Nasher Museum of Art, the FLAG Art Foundation, the Seattle Museum of Art, and the San Jose Museum of Art.
Devan Shimoyama, Weed Picker, 2018, Mixed media on canvas
Devan Shimoyama is another artist who primarily focuses on portraiture. He is a visual artist whose work explores depictions of the gay black male body. His compositions are inspired by those of classical painters of the past, such as Francisco Goya or Caravaggio. However, his use of materials is distinctly contemporary. Shimoyama has stated that he wants the figures in his work to be perceived as "both desirable and desirous." He is aware of the politics of queer culture, and the ways in which those politics relate to black American culture. These elements come together in his works in a way that is both celebratory and complicated.
Devan Shimoyama, Ready for a Revolution, 2018, Mixed media on canvas
The celebratory aspects of Shimoyama's work come through in his choice of materials. Employing such things as fur, feathers, glitter and costume jewels like rhinestones and sequins, he brings shine and dimensionality to his surfaces. These materials add to the sense that the figures in the works possess a sort of magical aura and joyful spirit. Yet so many of the men in Shimoyama's works also literally have jewels in their eyes, bestowing them with a mystified, often vacant expression, suggesting a sort of silent suffering.
Shimoyama currently has a solo show ("Cry, Baby") at the Andy Warhol Museum in Pittsburgh and also completed a stint at Miami's Fountainhead Residency.
Andro Wekua, Untitled, 2018, Oil and silkscreen ink on aluminum panel
Wekua works in the ambiguous half-light of memory, fantasy, and history. He offers fragmented narratives and doubled figures as fictions of a self that travel between autobiographical and historical specificity. Building from the collage practice that has been central to his work, Wekua's latest portraits and seascapes portray the image of a body formed of myth, as well as personal history. These portrayals of people and places from the artist's life emerge from layers of both formal and psychic investigation. On aluminum panels, re-worked through a process that continually adds and removes oil paint to construct new figures and relations, the artist collages and draws his way through different layers of meaning by obscuring, refashioning, or even completely effacing the original source image. 
Andro Wekua, L. Portrait Pink Armchair, 2018, Oil, silkscreen, ink and varnish on aluminum panel
Andro Wekua was born in 1977 in Sochumi, Georgia, and studied visual arts there and in Basel, Switzerland. His work has been widely appreciated abroad.
Derek Fordjour, Backbend Double, 2018. Acrylic, charcoal, oil pastel and foil on newspaper mounted on canvas
Derek Fordjour's images draw upon a variety of sources, including sporting imagery, board and card games, carnival motifs, and the circus to explore ideas of vulnerability. He uses the economic, political and psychosocial implications of games to discuss the power structure that exists around rewards and sanctions, merit and punishment, for both the player within the game and as an allegory for the broader human experience. Team dynamics that evoke the tension of an individual situated within a collective effort, convey the seductive sense of the risks and rewards that are inherent in the drama of both games and life.
Derek Fordjour, Podium, 2018. Acrylic, charcoal, oil pastel and foil on newspaper mounted on canvas
Derek Fordjour was born in Memphis, Tennessee to parents of Ghanaian heritage. His work has been exhibited in numerous venues including the Whitney Museum. In September 2018, he presented a public billboard installation as part of the museum's Out of the Box programming. He also was commissioned by MTA Arts & Design to create Parade, a series of mosaics permanently installed on the walls of the 145th St. Station in Harlem, New York, to provide commuters a chance to encounter a celebration of its community, history, and identity and to reinforce the historic fabric of the station.
Ndidi Emefiele, An Audience, 2018, acrylic, print textile, silver marker, color pencil, pasted printed paper,compact disk, plastic trim on canvas 
Nigerian-born artist Ndidi Emefiele draws upon a rich visual lexicon to embody her works and further challenge the historically held vision of women as figures of beauty. Young, fiercely proud, self-assured female characters are the sole protagonists of her compositions. Their unconcerned postures reveal an aversion to conventional conformism and their demeanors and outfits in no way are attempting to lure the male gaze, rather they demonstrate an expression of a purely female necessity.  Emefiele's work encompasses collage, textiles and traditional materials conveying a strong sense of cultural heritage and aesthetics inspired by her homeland. Her incredibly vivid canvases emphasize the depiction of enlarged heads, which are traditionally said to control and predict one's destiny, and the use of extravagant glasses (CDs) become a recurring element objectifying the need for a shield against the world.
Ndidi Emefiele, Somebody's Commute, 2018, acrylic, print textile, silver marker, color pencil, pasted printed paper,compact disk, plastic trim on canvas 
Emefiele lives and works in Abuja, Nigeria and has exhibited widely both internationally and domestically including presentations at the 1:54 African Art Fair in New York. Her work is included in collections such as The Nigerian Stock Exchange and the University of South Africa, Cape Town.
Philip-Lorca diCorcia, Major Tom; Kansas City, Kansas $20, 1990-1992, Fujicolor Crystal Archive print
 American photographer Philip-Lorca diCorcia is known for images that are at once documentary and theatrically staged, operating between fact and fiction. In his early Hustlers series (1990-1992), images are comprised of male prostitutes taken in the vicinity of Santa Monica Boulevard in Los Angeles. The title of each photograph indicates the name, age, and place of birth of the subjects, as well as the fee they would charge for their sexual
services. Posed within motel rooms, on street corners and parking lots, and in the backseat of cars, among other places, the resulting pictures are carefully constructed, as with many of diCorcia's compositions. 
Philip-Lorca diCorcia, Ralph Smith; 21 years old, Ft. Lauderdale, Florida, $25, 1990-1992, Chromogenic print
This seminal series, which marked the beginning of diCorcia's engagement with street photography, was the subject of the artist's first solo museum exhibition at The Museum of Modern Art, New York, in 1993.
Faig Ahmed, Siddharta Gautama, 2017, Handmade woolen carpet
Faig Ahmed's surreal works incorporate ancient carpet-weaving techniques from his native country of Azerbaijan into forms that anyone would identify as hyper-contemporary. His intricately patterned weavings engage the viewer through their unexpected marriage of traditional craft with digitally distorted images, often in the form of pixilation, three-dimensional shapes, and melting paint that alters the pattern on the rugs. He employs computers to sketch his works and chooses intricate traditional methods of carpet-weaving techniques to print his designs. 
Faig Ahmed, Flood of Yellow Light, 2012, Handmade woolen carpet
Ahmed has exhibited his works worldwide and was nominated for the Jameel Prize 3 at the Victoria and Albert Museum in London. His works are in public collections at the Los Angeles County Museum of Art, Palm Springs Art Museum, Seattle Art Museum, RISD Museum of Art, Chrysler Museum of Art; and in private collections such as Microsoft Art Collection, the collection of Beth Rudin DeWoody, and the Jameel Foundation, London. 
David Shrobe, Cross Over, 2018, Acrylic, ink, and fabric on canvas
David Shrobe is a New York-based visual artist who holds an MFA and a BFA in painting from Hunter College. He is an alumnus of the Skowhegan School of Painting and Sculpture and a Joan Mitchell Artist Teaching Fellow. He creates spaces within which new forms arise out of various materials reclaimed from environments he encounters. The fragments of the everyday are re-contextualized, becoming service to something new that shifts from one identity to another. The work presents an alternative representation that projects empowerment and defiance towards prescribed systems of authority, and what results is a cross pollination of painting, drawing, collage, and sculpture -- accumulations of domestic items, including flooring, furniture parts, frames, moldings, and doorknobs.
David Shrobe, Keeper of Secrets, 2018, Oil, graphite, paper, canvas, wood, metal and vinyl
Using domestic items collected from multiple geographies, Shrobe's neighborhood being one, is a way to map his personal journey and respond to the constantly evolving social landscape, creating a kind of field guide by which to navigate the communities in which Shrobe has lived and traveled.
Moffat Takadiwa, Keys of Meditation, 2018, Computer keys
Moffat Takadiwa is another artist who uses everyday discarded material in his work. Takadiwa creates large-scale sculptural pieces from abandoned materials, including everything from computer waste, aerosol cans and spray bottles, to toothbrushes and toothpaste tubes. He weaves together these small everyday objects to make impressive organic forms evocative of jewel-encrusted excess or a ritualistic kind of minimalism. The artist's choice of materials communicates his concern with issues around consumerism, inequality, post-colonialism and the environment.
Moffat Takadiwa, Smell Resisters, 2018, Found perfume and aerosol straws
Takadiwa was born in 1983 in Karoi, Zimbabwe and currently lives and works in Harare. He graduated with a BA from Harare Polytechnic College, Zimbabwe in 2008. Part of the post-independence generation of artists in Zimbabwe, Takadiwa has exhibited extensively across major institutions in Zimbabwe as well as internationally. 
Garth Weiser, 5, 2018, Acrylic and copper on canvas
Garth Weiser's paintings challenge perception with their grids and abstract geometrical composition. Weiser has created his own vocabulary of wheels, stripes, and pixelated blocks of gradated color using techniques that vary from gouache to impasto. The optical nature of his works coupled with his process give Weiser's paintings an architectural quality.
Garth Weiser, 9, 2017, Oil on canvas
Weiser is mainly concerned with languages of abstraction and the physicality of the painted surface.  Marked by a sense of materiality and texture, as well as a striking synthesis of addition and subtraction, Weiser's densely textured pieces underline the artist's fascination with the evolution of painting. His work is created by overlaying abstraction upon abstraction, each unique layer representing a distinct history in terms of content, form and materiality, resulting in a gestural surface of thick pigment. Highly textured, his paintings resemble fossilized slabs. Multiple perspectives and after-images emerge and recede, giving rise to a new and complex visual language, rooted in the ideals of abstract painting.
Over the last 20 years, Evan Holloway's revisionist take on the modernist sculptural vocabulary has become an indelible feature in the Los Angeles cultural imagination. Now, however, he is tackling sculpture for the outdoors. Holloway has reimagined the artistic and provisional quality of his earlier work in a more expansive way and at a larger scale. As he confronts technical issues of size, visibility, and durability that come along with the possibility of placing objects in the landscape, his forms have evolved in a variety of ways. 
Evan Holloway, Third Verse, 2018, patinated bronze
There are five large pieces he made for outdoor locations. Each is noticeably unique from the others yet each has obvious references to the history of modern sculpture. Giacometti, known for his skinny sculptures of people, such as his "walking man," is the source for Holloway's starburst of cast bronze. In this case, three legs support an ova from which long rays extend, each terminating in a molded narrow face. The faces are upright or upside down
depending on their placement on the circle of rays. Titled Third Verse from The Book of the Law, the 1904 writings of occultist Aleistair Crowley, it refers to the verse stating, "Every man
and every woman can be a star." 
Evan Holloway, 28 Incense Sticks, 2018, Aluminum, incense
Another work is 28 Incense Sticks, the largest, most ambitious, and most intricate of the "loop" sculptures Holloway has made to date (the first plaster iteration was made in 2001). This cast aluminum version twists around and through itself, challenging attempts to figure out where it begins and ends. Like other works of its type, it features an olfactory component. Twenty-eight small holes punctuate the work's surface, all of which hold sticks of incense that, when lit, appeal to a viewer's sense of smell. Because the work has a shiny, silvery appearance, a cyclical form, and an integral relationship to the number 28, it is replete with lunar symbolism. Because only one incense stick is lit at any time, the location of that stick changes on a daily basis over the course of the 28-day lunar cycle. 
Evan Holloway, Siblings, 2018, powder-coated aluminum, high-temp spray paint, bulbs, fixtures, wiring, and lighting controller
Holloway's works are featured in the public collections of the Hirshhorn Museum and Sculpture Garden; MCA Chicago; MOCA, Los Angeles; and Whitney Museum of American Art, among many others.