Emelie Gevalt (Ph.D. 2024) is the Deborah Davenport and Stewart Stender Deputy Director & Chief Curatorial and Program Officer at the American Folk Art Museum (New York City), where she has served as curator of folk art since 2019. Gevalt has organized multiple exhibitions at AFAM, most recently including An Ecology of Quilts: The Natural History of American Textiles. Her current project, opening in fall 2026, is the exhibition Locating Girlhood: Place and Identity in Early American “Schoolgirl” Art. Timed to coincide with the U.S. semiquincentennial, Locating Girlhood will both celebrate the creativity of early American girls and young women and critically examine the colonial and federal ideologies that structured their worldview.

Gevalt previously held positions at the Museum of Fine Arts, Boston, Christie’s, and in private collections management in New York.

Nikki Greene (Ph.D. 2010) is Associate Professor of Art History at Wellesley College. Greene’s research explores African and African American identity, the body, and feminism in performance art of the nineteenth and twentieth centuries. Her recent book, for which she was awarded a Wyeth Foundation for American Art Publication Grant from the College Art Association, is titled Grime, Glitter, and Glass: The Body and the Sonic in Contemporary Black Art (Duke University Press, 2024). Greene curated Taking the White Gloves Off: A Performance Art Series in Honor of Lorraine O’Grady ‘55 (Davis Museum at Wellesley College, 2024), featuring the work of six multidisciplinary artists. Green received a Clark Art Institute Research and Academic Program (RAP) Fellowship to expand the project. In September 2025, she published “‘This is not a performance’: Tsedaye Makonnen’s Astral Sea as Mäsqäl in Motion,” in Tsedaye Makonnen: Refuge (Williams College Museum of Art and The Clark Art Institute, September 2025).

Among her many honors and awards, Greene has received the Mellon Postdoctoral Fellowship in Art and Africana Studies at Wellesley College, the Woodrow Wilson Career Advancement Fellowship, an Artist Residency at Ucross Foundation in Wyoming, the Richard D. Cohen Fellowship and the Afro-Latin American Research Institute’s (ALARI) Traveling Faculty Seminar to study Afro-Latin American Art History in the Americas (2020-2024), both at the Hutchins Center for African and African American Research at Harvard University. In 2021 Greene co-produced When We Gather, a three-minute film based on the work of artist María Magdalena Campos-Pons and directed by filmmaker Codie Elaine Oliver. Greene also wrote and hosted the accompanying online special broadcast, When We Gather: Together, a behind-the-scenes look at the film.

Greene’s writing has appeared in publications such as the American Studies Journal, Aperture, and Panorama: Journal of the Association of Historians of American Art. She has also written for many museums including the Studio Museum in Harlem, the Guggenheim Museum, the Smithsonian Institution’s National Portrait Gallery, and the Isabella Stewart Gardner Museum. 

Sarah Mead Leonard (Curatorial Track Ph.D. 2020) is the Associate Director of Fellowships and Academic Programs at the Newberry Library in Chicago. In this role she directs Newberry's robust program of short- and long-term research fellowships as well as overseeing undergraduate seminars taught at the library. She also continues to expand her work on William Morris and other aspects of 19th-century British art, material culture and landscapes. Her long-running Morris on Screen project, which documents Morris & Company patterns in film and television set design, was used by filmmaker Natalie Cubides-Brady to create the film Wallpaper for the 2025 William Morris Gallery exhibition Morris Mania. The intricacies of publication timelines mean that Sarah also anticipates three publications in 2026: a journal article for Victorian Studies and two chapters in edited volumes, focused respectively on the Morris on Screen project, Morris's 1883 fabric pattern Rose, and Morris's use of Indian indigo dye.

Mead Leonard’s past work includes roles at the Yale Center for British Art, the North Carolina Department of Natural and Cultural Resources, Dumbarton Oaks Research Library and Collection, and the Delaware Art Museum, among other institutions.

Julia Mun (M.A. 2023) is a graduate of the Art History for Museum Professionals 4+1 Program and Assistant Curator at the Art Bridges Foundation in Bentonville, Arkansas. She works with museum partners nationwide to help place works from the collection and increase access to important art of the American experience for diverse communities. Her exhibition Isamu Noguchi: Metal the Mirror opened at the Bruce Museum in Greenwich, Connecticut in April 2025. The show featured nine galvanized steel sculptures by Isamu Noguchi, which Mun interprets to explore how the artist engaged with complicated structures of duality that have come to define Asian American identities and experiences. The exhibition travels to the Mennello Museum of American Art in Orlando, Florida, on August 28, 2026, and runs through February 28, 2027. 

Mun’s most recent curatorial project, In Visible Landscapes, opened in February 2026 at the Alice L. Walton School of Medicine. The exhibition showcases work by contemporary artist Laura McPhee, whose large-scale landscape photography explores the relationship between humanity and nature and emphasizes cyclical ideas of care and regeneration. 

Jeffrey Richmond-Moll (Ph.D. 2019) is the George Putnam Curator of American Art at the Peabody Essex Museum in Salem, Massachusetts. Richmond-Moll recently co-curated the landmark exhibition Edmonia Lewis: Said in Stone, the first retrospective of sculptor Edmonia Lewis, the first Black and Indigenous artist born in the United States to achieve international fame as a sculptor. The exhibition is co-organized by Shawnya L. Harris and the Georgia Museum of Art and supported by grants from the Terra Foundation for American Art and the Henry Luce Foundation, and it will travel to the Georgia Museum of Art and the North Carolina Museum of Art after closing at the Peabody Essex in June 2026.

Richmond-Moll was a previous co-chair of the Association of Historians of American Art (AHAA) and has written for numerous publications including Winterthur Portfolio, Archives of American Art Journal and Panorama: Journal of the Association of Historians of American Art.