As part of our ongoing Standard Talks series, we hosted a panel with five powerhouse women in NYC’s art world—Storm Ascher (Superposition Gallery), Jasmine Wahi and Rebecca Pauline Jampol (Project for Empty Space), and Joeonna Bellorado-Samuels (Jack Shainman Gallery). They explored the power and resilience of women-led creative spaces, the vision and ingenuity needed to sustain them, and how art continues to thrive in challenging times.
After the panel, Jasmine and Rebecca spoke with us about the intersection of art, community, and social change—and their 15-year journey leading Project for Empty Space.
For those unfamiliar with yourselves and Project for Empty Space, can you give us a little background on the project and how you two came to work together?
We first connected during our undergraduate years, both eager to create art and social practice programs in our communities—Jasmine in NYC and Rebecca in Newark. In 2010, Jasmine co-founded the inaugural, nomadic version of PES in the Lower East Side. Meanwhile, Rebecca was working in Newark, collaborating with real estate owners to bring art to high-traffic vacant spaces.
Our paths converged on a project that activated a large space in the Gateway Center, connected to Newark Penn Station. That was the beginning. What started as a single pop-up evolved into a two-year initiative, the formation of a nonprofit, and a shared vision for impact.
Now in its fifteenth year, PES has grown to include four locations in Newark, NJ and NYC—including a 27-foot retrofitted box truck transformed into a gallery space—as well as a range of programs. These include a decade-old Artist in Residence program, exhibitions and public programs, and public art initiatives.
The intersection of art, activism, and public space is central to many creative movements in NYC. How do you see your work fitting into this legacy, and where do you see it evolving especially given the current social and political climate?
PES’ foundation is communities and people. We believe that art is not just a vehicle for beauty and expression but also a powerful tool for communication and sparking dialogue around important social issues and movements. We strive to reflect this in our programs—one example being the Body Freedom for Every(Body) mobile exhibition, which directly responds to the current national climate.
This project explores themes of collective freedom and healthcare access, engaging communities in critical conversations. The truck travels across states, partnering with like-minded organizations and artists to bring these discussions to different neighborhoods. Together, we are building a coalition of communities that can support and sustain one another.
How do you create an environment where marginalized voices feel truly empowered, and what role do spaces like Project for Empty Space play in fostering conversations that mainstream institutions often avoid?
PES was founded, in many ways, as a critique of the institution. Our goal was to create public programs that confront truths (sometimes hard) and support meaningful conversations. We see this as an evolving practice, allowing ourselves the space to learn, adapt, and explore new ways to be more effective. Perhaps it is this flexibility and continuous pursuit of impact that truly defines our role.
Is there a particular project or activation that you’re really proud and encapsulates the essence of your work?
Our Artist in Residence program is something we hold dear. Now in its tenth year, it has supported an incredible roster of artists who are shaping the landscape of contemporary art. Providing two years of studio space and an honorarium toward an exhibition feels both significant and transformative for an artist’s career. This is the work we set out to do, and we’ve watched the program flourish in ways we never could have imagined. These artists are the heart of our programs, bringing work into our spaces that reflects the organization we aspire to be.
How has the art world’s perception and support of women-led initiatives evolved over the past decade, and what changes are still needed to ensure a thriving future for these spaces?
For too long, the arts—like many other sectors—have been shaped by a single dominant perspective, often excluding the voices of those most impacted by the work. This lack of representation is not only limiting but also harmful, reinforcing systemic barriers and narrowing the scope of creative expression.
By centering the leadership of women, particularly BIPOC women, the arts can become more reflective of the communities they serve. When leadership and decision-making spaces include a broader range of perspectives, the stories being told expand, audiences see themselves represented, and engagement deepens in more meaningful and authentic ways.
