Kameelah Janan Rasheed (b. 1985, East Palo Alto, CA; lives and works in Brooklyn, NY) is a learner grappling with the poetics, politics, and pleasures of the unfinished. Engaging primarily with text, Rasheed works on the page, on computer screens, on walls, and in public spaces to create associative arrangements of letters and words that invite an embodied and iterative reading processes. Rasheed is invested in Black storytelling technologies that ask us to consider ways of [un]learning that are interdisciplinary, interspecies, and interstellar. Rasheed’s work has been exhibited nationally at the Brooklyn Museum; New Museum; MASSMoCA; Queens Museum; Bronx Museum; Studio Museum in Harlem; Portland Institute for Contemporary Art; Institute of Contemporary Art - Philadelphia; Jack Shainman Gallery; Brooklyn Public Library; Brooklyn Historical Society, among others. Her work has been exhibited internationally at NOME Gallery; Transmission Gallery; Kunsthalle Wien; Bétonsalon - Centre d'art et de recherche; Haus der Architektur; Contemporary Art Gallery-Vancouver; Artspace Peterborough; 2017 Venice Biennial; and National Gallery of Zimbabwe, among others. Her public installations include Ballroom Marfa, Brooklyn Museum, For Freedoms x Times Square Art, Public Art Fund, Rice University - Moody Center for the Arts, The California Air Resources Board, and several others. She is the author of two artist’s books, An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019) and No New Theories (Printed Matter, 2019). Her writing has appeared in Triple Canopy, The New Inquiry, Shift Space, and others. She is a 2021 Guggenheim Fellow in Fine Arts.