Elizabeth Eich (b. 2001) : The Artist (2023) is a self-portrait as a reminder that I am beautiful in my own skin, and I do not have to live up to society’s standards to feel beautiful. This portrait is also a reminder of my womanhood and how I should be empowered every day. Using oil on canvas, I paid close attention to all the details—even the little imperfections I may have wanted to skip over. In society’s eyes, I may not be the ideal vision of beauty. However to me, the artist, I am beautiful.

Norman Gilbert (1926-2019): Pat II (2014) portrays the artist’s wife, Pat, who had been diagnosed with Alzheimer's Disease in 2012.

Megan Hildebrandt (b. 1984): Remembering Your Face When I Drop You Off at School (2021) is an ink drawing exploring the daily anxiety of parents in the US as we drop off our young children at school in a century of inexplicable gun violence.

Hayden Johnson (b. 2002): The Weight of Womanhood (2023) is a triptych that tackles the expectations and burdens women face, from mother-daughter relationships to the push and pull of expectations society places on women and how women are seen in society.

Emily Ma (b. 1998): Self Portrait (2024) is a charcoal drawing that depicts the artist from a camera lens perspective, showing one of the many facial expressions of her daily life that feels the most natural while doing the simple task of observing.

Toni Parker (b. 1996): Generations (2024) is a relief print that addresses the significance of touch in the healing process. The tactile and performative nature of carving relief creates the necessary conditions for a meditative state in which you consider the interconnectedness of people, and you begin to consider something larger than yourself and the way touch promotes healing. For the drawing Legacy (2024), family photographs are used as an entry point to analyze the fractured and fragmented nature of collective memory. In rendering them transparent and distorted, there is an engagement with the often untenable nature of family legacy. Images are collaged together, the paper is cut and torn. Like perception and memory, it's pieced together and colorized to make sense of our shared experience.

Enoch Ulmer (b. 1977): Gown Up (2022) is a linocut relief print illustrating the ritual of donning gowns and protective equipment upon entry to a patient’s room. It also references the medieval Danse Macabre, as the skeletal figure of death seems to mock the futility of protecting oneself with a sheet of fabric.

Kennedy Wallman (b. 2003): Almost Ready (2023) is a self-portrait about the artist’s need to adhere to beauty standards as a young woman in her early twenties.