For 50 years, Independent Curators International (ICI) has championed the role of the curator as a critical force in contemporary art. Founded in 1975 by curators Susan Sollins and Nina Castelli Sundell, ICI is a New York based, non-profit organization that develops travelling exhibitions, public programs, and professional development initiatives that support curators around the world.
With a mission rooted in collaboration and cultural exchange, ICI connects institutions, artists, and audiences across global contexts, expanding the access to contemporary art. To delve deeper into ICI’s work and its unique approach to exhibition making, we spoke with Becky Nahom, Director of Exhibitions at ICI.
Becky Nahom, Director of Exhibitions at ICI (Photo: Alex Munro)
Teddy Sandoval, Angel Baby, 1995. Twelve-color silkscreen, 38 x 26 in. Courtesy of Paul Polubinskas. (Photo: Monica Orozco)
Becky Nahom: ICI’s approach to exhibition making is highly research-driven, collaborative, and centered on uncovering underrepresented narratives. A recent example is the exhibition on artist Teddy Sandoval, whose name was little known among curators exploring intersections of queer identity in contemporary art. Though Sandoval passed away in 1995, his legacy was carefully preserved by his longtime partner Paul Polubinskas, who maintained an extraordinary home archive of hundreds of works. Curators working with ICI recognized the richness of this archive and the opportunity to situate Sandoval’s work in dialogue with other queer artists such as Martin Wong, drawing connections across time, medium, and community. By committing to a five year tour, ICI offers exhibitions not just visibility, but longevity.
How important is art logistics to ICI?
Becky Nahom: ICI’s partnership with Crozier plays a vital role in the success of its touring exhibitions. A key aspect of our process is being in conversation with the local communities where each show is presented. That requires a logistics partner who understands the nuances of timing, care, and communication. Crozier offers secure and professional environments for artworks in transit, giving ICI, the artists, and lenders confidence throughout the tour. Crozier has expertly handled some of ICI’s ambitious and expansive past exhibitions like Axis Mundo and Seeing Sound.This level of care is especially important in the context of travelling exhibitions, where museums place great trust in ICI and Crozier to safeguard these shows.
Artist Elshafei Dafalla (left) speaks with a visitor in front of his artwork Delirium (2005). Installation view, States of Becoming, Knoxville Museum of Art, Knoxville, Tennessee, Jan 31–Apr 27, 2025. (Photo courtesy of ICI)
What’s coming up next for ICI?
Becky Nahom: Looking ahead, we will continue to bring compelling exhibitions to new audiences. The Teddy Sandoval and the Butch Gardens School of Art exhibition will travel to Austin, Texas this fall, continuing its exploration of the intersection of queer and Latinx art. In January 2026, Never Spoken Again, a critical exhibition in ICI’s history curated by ICI Curatorial Intensive Alum David Ayala-Alfonso, will open in Minneapolis. Meanwhile, States of Becoming, which recently closed at the Knoxville Museum of Art, is slated to travel to the Fleming Museum of Art in Vermont in 2027. These exhibitions reflect ICI’s ongoing commitment to supporting emerging curators and fostering conversations around identity, place, and transformation.
A Museum Without Walls
As ICI’s exhibitions continue to travel across institutions and communities, Crozier remains a trusted partner in keeping each exhibition intact and protected throughout its journey. This enduring partnership with ICI reflects a shared commitment to preserving and presenting meaningful art experiences, supporting curators, artists, and institutions.
