Kameelah Janan Rasheed is invested in the shifting ecosystems of Black epistemologies, and the agile relationships between the varied modes of reading, writing, archiving, editing, translating, publishing, reflecting upon, and arranging narratives about lived Black experiences. With interests in the generative qualities of incompleteness, leakage, dispersal, syncretism (spiritual and otherwise), and choreography (of movement, of learning, of affect), Rasheed works across an ecosystem of iterative and provisional projects. These projects include sprawling, architecturally-scaled Xerox-based collages; large-scale text banner installations; publications; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined. Rasheed has exhibited at the 2017 Venice Biennale; Institute for Contemporary Art Philadelphia; Pinchuk Art Center, Kiev, Ukraine; Brooklyn Museum; Queens Museum, New York; New Museum, New York; Studio Museum in Harlem, New York; Bronx Museum; Brooklyn Public Library; Schomburg Center for Research in Black Culture, New York, and The Kitchen, New York, among others. She is the author of two artist books, An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019) and No New Theories (Printed Matter, 2020).