Since its inauguration in 2002, Queens International has highlighted the contemporary cultural production of Queens in a single major group exhibition approximately every two years. Queens International 2018: Volumes forms a dialog among forty-three Queens-connected artists representing 15 neighborhoods and several generations, including, for the first time, artists who have exhibited in earlier Internationals. In 2018, also for the first time, Queens International includes a partnership with the Queens Library.

The subtitle Volumes encompasses many historical and current meanings of the word. Artists respond to the entire museum and select Queens Library branches, questioning and expanding systems of knowledge production and their effects on how we become and order who we are. What aspects of the past are constructed within and because of libraries and museums? What limits and possibilities do they present spatially, temporally, and virtually, today? Artists in QI 2018 are working through abstraction, chance operations, the transformation of found materials, and the construction of new archives along with other strategies to pose profound and multiple questions about centuries- or decades- old human systems, algorithmically-generated realities, and possibilities for selfhood.

While Volumes marks an expansive presence in both the Queens Museum and Queens Library branches, its interventions are largely non-monumental, positioned rather for speculation and dialog with these sites, its publics, and beyond. Together, they form a complex array of contemporary artistic thought and conversation with which the visitor is invited to engage.
Damali Abrams, Haley Bueschlen, Gabo Camnitzer, Emmy Catedral, Camel Collective (Anthony Graves and Carla Herrera-Prats), U. Kanad Chakrabarti, Jesse Chun, Oscar Rene Cornejo, Chris Domenick, Brian Droitcour and Christine Wong Yap, ray ferreira, Christina Freeman, Milford Graves, Janet Henry, Camille Hoffman, Kim Hoeckele, Heidi Howard and Liz Phillips, Qiren Hu, Juan Iribarren, Paolo Javier and David Mason, Peter Kaspar, Patrick Killoran, Ernesto Klar, Essye Klempner, Mo Kong, Ani Liu, Umber Majeed, Emilio Martinez Poppe, Gloria Maximo, Asif Mian, Wardell Milan, Beatrice Modisett, Arthur Ou, KT Pe Benito, Gabriela Salazar, Raycaster (Ziv Schneider and ~shirin anlen), Jaret Vadera, Mary A. Valverde, Cullen Washington, Jack Whitten
The Queens International 2018 website is meant to function as an alternative experience of Volumes and is developed by artist Ryan Kuo with research support and motion graphics from Taekeun Kim. For the short interviews that form the bulk of the website, the curators asked contributing artists to describe processes leading up to their work in the show; what a viewer might not see immediately in the work; and overall feelings toward "volumes" as a concept. Notably, the QI 2018 website adapts materials used internally for the process of planning the show, including artist renderings and drawings, architectural floor plans of the Queens Museum and the 3D exhibition model of Volumes developed by Queens Museum Exhibition Production Manager John Wanzel. When the exhibition is installed in October, photographs of the works on view will be added. An extended interview with the curators, and further background on the ideas in the exhibition, including an index, will also become available. Additionally, stay tuned for the results of an ongoing conversation about the notion of "international" between the Queens Museum curatorial team and the organizers of the 57th Carnegie International. Taking "volumes" as a cue, the website grid threatens (but fails, thanks to the actual voices and bodies in QI 2018) to visually tabulate the exhibition data within a universal hierarchy. The computer tirelessly garbles the text while cutups of the floor plans and animated flythroughs of the virtual galleries give form to truths, half-truths, and algorithmic untruths about the promises of a biennial. The HTML table shaping the grid extends my project Tables of Content that examined containment and white space in web publishing, and is deployed here in the spirit of organizing and indexing material. The artistic aim of the website is to depict an entity, like a museum biennial, that merges art and logistics.  –Ryan Kuo
QI 2018: Volumes is organized by Queens Museum Assistant Curator Sophia Marisa Lucas with New York-based performance artist Baseera Khan, working closely with Queens Museum Exhibition Production Manager John Wanzel, and additional collaborators at the Queens Museum and Queens Library. The exhibition website and web-based catalog accompanying QI 2018 is co-edited by Queens Museum Curator Larissa Harris, with design concept and development by Queens-based artist Ryan Kuo.

Queens Museum is dedicated to presenting the highest quality visual arts and educational programming for people in the New York metropolitan area, and particularly for the uniquely international residents of Queens. In November 2013, the Queens Museum completed an expansion that doubled its size to 105,000 square feet. The expansion provides an additional 50,000 square feet of space, including a suite of new galleries, artist studios, flexible public and special event spaces, education classrooms, a café, back-of-house facilities and visitor amenities. This light-filled new space, designed by Grimshaw Architects, exemplifies the Museum’s commitment to openness, inclusion, community partnership and the diverse communities of New York City. A second phase of the project will bring a branch of the Queens Library into the Queens Museum.

Queens Library's mission is to meet the needs of the community by offering lifelong learning opportunities and ensuring there is a positive impact in the community. Queens Library fulfills its goals by embracing innovation and change. With a history of offering pioneering programs that meet the diverse needs of the most diverse county in the US. The Queens Library serves 2.3 million people from 65 locations. It circulates among the highest numbers of books and other library materials in the country.
Taking "volumes" as a cue, the website grid threatens (but fails, thanks to the actual voices and bodies in QI 2018) to visually tabulate the exhibition data within a universal hierarchy. The computer tirelessly garbles the text while cutups of the floor plans and animated flythroughs of the virtual galleries give form to truths, half-truths, and algorithmic untruths about the promises of a biennial. The HTML table shaping the grid extends my project Tables of Content that examined containment and white space in web publishing, and is deployed here in the spirit of organizing and indexing material. The artistic aim of the website is to depict an entity, like a museum biennial, that merges art and logistics.  –Ryan Kuo
QI 2018 is made possible in part by support from the National Endowment for the Arts, Agnes Gund, and the American Chai Trust. Exhibitions at the Queens Museum receive significant support from Ford Foundation. Major funding for the Queens Museum is generously provided by the New York City Department of Cultural Affairs, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, Lambent Foundation, Booth Ferris Foundation, and the Lily Auchincloss Foundation, Inc.