Prospect New Orleans is a new international biennial whose first edition opened in November 2008 at multiple sites around the city and closed in January 2009. Since 2007, Cameron has also served as director of visual arts for the Contemporary Arts Center (CAC), New Orleans, which served as the principal venue for Prospect.1. At the CAC, Cameron has presented solo projects by such artists as Luis Cruz Azaceta, Tony Feher and Peter Saul, as well as the group exhibitions “Something From Nothing,” “Make-It-Right,” “Previously on Piety” and “Hot Up Here.”

Cameron was senior curator at the New Museum of Contemporary Art in New York from 1995 to 2006, where his exhibitions included survey and new work exhibitions of Eugenio Dittborn, Carroll Dunham, Teresita Fernandez, William Kentridge, Cildo Meireles, Los Carpinteros, Nalini Malani, Christian Marclay, Paul McCarthy, Jun Nguyen-Hatsushiba, Marcel Odenbach, Pierre et Gilles, Faith Ringgold, Doris Salcedo, Carolee Schneemann, Francesco Vezzoli, David Wojnarowicz, Martin Wong and Xu Bing. While at the New Museum, he also organized the group exhibitions “East Village USA” and “Living Inside the Grid.”

In 2003, Cameron served as artistic director for the Eighth Istanbul Biennial, entitled “Poetic Justice.” In 2006, he co-organized the 10th Taipei Biennial, “Dirty Yoga.” In 2006, he was the curator of pkm Gallery Beijing’s “New York, Interrupted,” the first independent exhibition of recent American art in China. In 2008, as guest curator for the Orange County Museum of Art, he presented a five-decade retrospective of American painter Peter Saul. Cameron currently serves as senior curator for Next Wave Visual Art at Brooklyn Academy of Music, where he has organized an annual exhibition of emerging Brooklyn-based artists since 2002. He is also a member of the graduate faculty of School of Visual Arts in New York, where he teaches an M.F.A. symposium each spring.

Some of Cameron’s better known early exhibitions include “Extended Sensibilities” (1982, New Museum), “Art and its Double” (1986–87, Fundación “la Caixa,” Barcelona and Madrid), “What is Contemporary Art?” (1989, Rooseum, Malmo), “The Savage Garden” (1991, Fundación “la Caixa,” Madrid) and “Cocido y Crudo” (1994, Museo Reina Sofia, Madrid). In addition to organizing major exhibitions in cities like Moscow, Mexico City, Valencia, Vienna, Cape Town, Rio de Janeiro and Los Angeles, he frequently writes on contemporary art, with hundreds of museum catalogs, essays, book texts and magazine articles to his credit. Cameron’s most recent publications include critical essays for Alexandre Arrechea, “Todo Algo Nada” (2009, Centro de Arte, Caja de Burgos, Spain); Nick Cave, “Meet Me at the Center of the Earth” (2009, Yerba Buena Center for the Arts, San Francisco); and Skylar Fein, “Youth Manifesto” (2009, New Orleans Museum of Art).

The Master of Public Art Studies program’s “Critical Conversations” series features talks by visiting artists, curators, theorists, art historians, writers, organizers, activists, architects and other types of cultural producers, who engage in critical, open, rigorous conversations with the graduate students and attending members of the public. Notions/realities of public space and the cultural politics of the public sphere are explored from various disciplinary and ideological perspectives, so that the classroom becomes a potential locus of authentic public domain experience: a place wherein multiple discursive positions are brought into contact, even into moments of productive friction, and new knowledge is generated.

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