Fulcrum Fund

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    1000 Tiny Mirrors, Reverence/Rage with Se Siente, Flor de Nopal, Freyr A. Marie, Beata Tsosie Pena, Dee Anaya, Autumn Gomez, Christina Castro, Alysia Kapoor, Alessandra Ogren, 2019.
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    Zeke Peña, A Nomad's Heart, digital graphic print on archival paper, 18 x 12, featured in the 2018 exhibition Migrations, organized by Candy Nartonis.
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    Cannupa Hanska Luger, Untitled, ceramic, mixed media, exhibited in Broken Boxes, curated by Ginger Dunill, 2017.
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    Lena Kassicieh, Daftar Asfar: The Collaborative Sketchbook Project, 2018-2019
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    Billy Joe Miller and collaborator Allie Hankins performing in 2017.
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    Russell Bauer demonstrating the Rotisserie Rickshaw, 2017.
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    Nizhonniya Austin performing in front of Joanna Keane Lopez's outdoor installation Resolana, 2018.
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    Work by Diego Montoya featured in Where Are You curated by Alicia Inez Guzmán, 2019.
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    Haley Greenfeather English, Installation view of Attachment Theory at Vitrine, 2018; Image courtesy of 2018 recipients Scott Daniel Williams, Jaime Tillotson & Anna Resser
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    Jonathan Hartshorn, night view of Calendar Gazebo and Jonny Campolo's exhibition, The Big Orange 2019-2020
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    Nuttaphol Ma, “.. with Liberty and Justice for All” 2019-2020
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    Cannupa Hanska Luger, “The One Who Checks & The One Who Balances” site-specific land acknowledgement, Taos, NM for Jade Begay’s “Cosmo Vision” photo by Dylan McLaughlin
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    Karl Orozco for Risolana, artist book printed by Albuquerque Academy student Nick Mohoric for Karl Orozco’s AP Studio Art class, November 2021.
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    Akilah Martinez, DigiNewMex Mock-Up Photo, 2021

Submissions for the Fulcrum Fund are currently closed.

The Fulcrum Fund awarded a total of $93,600 to 13 New Mexico artists in support of new projects for the 2022 grant year.

In 2020 and early 2021, 516 ARTS responded to the pandemic and our Fulcrum Fund played a key role in the Covid-relief effort for New Mexico artists, disbursing $321,000 to 255 artists and artspaces statewide, thanks to the Warhol Foundation, major new support from the Frederick Hammersley Foundation for the Arts, and community contributions.

This year, a total of $93,600 has been awarded to 13 New Mexico-based visual artists to support the development and presentation of independent, artist-led projects and programs. Examples of funded projects this cycle include new exhibitions, the ongoing work of an experimental arts venue or collective, public art projects, one-time events and performances, publications directly related to the visual arts, on-line projects, artist residencies and film festivals, to name a few. This year’s guest jurors were Laura Copelin (MOCA Tucson & Ballroom Marfa), Kathleen Ash-Milby (Navajo), Portland Art Museum, Portland, OR, and Marvella Muro (Self Help Graphics, Los Angeles, CA).

The Fulcrum Fund is an annual grant program created and administered by 516 ARTS as a partner in the Regional Regranting Program of The Andy Warhol Foundation for the Visual Arts with additional support from the Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation. The Fulcrum Fund serves as an essential support structure to enable artists to expand existing work and explore new directions in creating and showcasing projects that inspire curiosity, engagement and dialogue. It is intended to be a springboard for artistic processes that are experimental and forward thinking, while celebrating projects that may not fit into the traditional museum and gallery systems.

We received 105 submissions from 18 cities throughout New Mexico. The jurors selected the following 13 proposals:

JC Gonzo, Santa Fe • Cuidado
An independent, self-published zine featuring emerging artists based in the Southwest region of North America.

Tytianna Harris (Navajo), Albuquerque • American Indians of the Southwest
Abstract-experimental textile work examining the life ways and design of Indigenous cultures in our area.

Jessica Krichels, Albuquerque • Pressing Letters: A Collaboration of Literary Broadsides
Handmade literary broadsides on a letterpress created by collaborations among poets and visual artists.

Akilah Martinez (Navajo), Gallup • DigiNewMex
A virtual environment that connects New Mexicans through a magical immersive digital landscape full of 3D artistic interpretations of traditional New Mexican and Indigenous food.

Dylan McLaughlin (Diné), Albuquerque • Wires Under Tension
An experimental music composition and performative installation meditating on the acoustic ecology of place, giving space to hear and feel what the acoustic world is speaking.

Rosemary Meza-DesPlas, Farmington • Miss Nalgas USA 2022
A performance artwork featuring a faux beauty competition for self-identifying Latinas over 50, examining topics of colorism, self-identification, border crossing, and Latinidad.

Karl Orozco & Michael Lopez, Albuquerque • Risolana
A community risograph studio in Albuquerque’s South Valley, celebrating the power of printmaking as a tool for community dialogue where personal and collective expression meet. Additional components include a residency, workshop, artist monograph, and exhibition.

Nayeli Navarro & Elsa Lopez, Pecos • Weaving back to Center/Tejiendo de regreso al centro
A creative, multilingual, community art practice that revitalizes the traditional art form of Backstrap Weaving, with weavers from across New Mexico contributing to a culminating octagonal human/weaving sculpture and exhibition.

Adrian Pinnecoose (Navajo and Southern Ute), Albuquerque • Collective Equilibrium
Highlighting digital applications and fabrication in Indigenous Art, this project uses 3D software, 3D-printing, laser-cutting, and graphic design culminating in the Historical Centennial SWAIA Fashion Couture Show.

Sara Rivera, Albuquerque • Entre nacer y caminar
A large-scale text sculpture made from cast gypsum toys found in Albuquerque’s early childhood centers and home-based daycares, using text sourced from their oral histories and interviews, to be installed site-specifically in the childcare wing of the new PCA social enterprise center.

Justin Rhody, Santa Fe • No Name Cinema
No Name Cinema is a microcinema dedicated to showcasing experimental, avant-garde and underground film and video rarely seen elsewhere. It fosters community, conversation, and support to underground culture by showcasing experimental, avant-garde, and underground film and video, visual art exhibitions, and a bi-monthly chess and jazz club.

We Are Longing for a Future (a collective), Albuquerque, we are longing for a future [that will never come]
A multi-phased project featuring a group of queer, trans, and Indigenous artists collaboratively addressing the problematic and eroding narrative of a linear “future” of “progress” fueled by consumption, displacement of peoples and species, and the commodification of the Earth.

Adrian Wall (Jemez Pueblo) • Ponderosa, Reconnecting - Time, Self and the Celestial
A site-specific, mixed-media sculptural installation inspired by the earth works and technology of the artist’s Pueblo Ancestors, that explores our natural relationship to celestial concepts of time. `


The Fulcrum Fund is an annual grant program created and administered by 516 ARTS as a partner in the Regional Regranting Program of The Andy Warhol Foundation for the Visual Arts. Since its inception in 2016, the Fulcrum Fund has awarded a total of $645,600 to 313 artists, artspaces and organizations statewide and is one of 32 re-granting programs developed and facilitated by organizations throughout the U.S. and Puerto Rico.


The Regional Re-granting Program was established in 2007 to recognize and support the movement of independently organized, public-facing, artist-centered activity that animates local and regional art scenes but that lies beyond the reach of traditional funding sources. The program is administered by non-profit visual art centers across the United States that work in partnership with the Foundation to fund artists’ experimental projects and collaborative undertakings.

Since its inception, the Regional Re-granting Program has grown steadily, adding new cities and regions to its national network each year. When COVID-19 hit and it became clear that artists needed a different kind of support, the Foundation’s Board authorized a programmatic pivot; the existing 16 partners in the Regional Re-granting Program swiftly set up COVID-19 emergency relief funds to help artists cover basic living/medical/child-care expenses. Since April 2020, the Foundation’s original 16 Regional Re-granting partners have disbursed over $1 million in emergency grants. Since March of 2020, the Foundation has doubled the number of re-granting partners in its network; 16 new programs will provide emergency funds to artists in their regions while many of the original 16 programs have already begun a second round of emergency grants. The 32 Regional Re-Granting Partners are as follows: Mobile, Birmingham & York (AL), Atlanta, Boston, Detroit, Baltimore, Chicago, Cleveland, Denver, Houston, Indianapolis, Kansas City, Los Angeles, Miami, Milwaukee, Minneapolis, Nashville, Newark, New Orleans, Oklahoma, Omaha, Phoenix & Tucson, Philadelphia, Portland (OR), Portland (ME), Providence (RI), Raleigh & Greensboro (NC), San Francisco, San Juan, (PR), Seattle, St. Louis and Washington D.C. Together these programs have supported well over 1,000 independent art projects in the past ten years, granting more than 4.7 million dollars.

Laura Copelin is Curator-at-Large for MOCA Tucson and Ballroom Marfa’s Director-at-Large. She recently relocated to Arizona from Texas, where she was Ballroom’s Executive Director & Curator. In Marfa she realized numerous exhibitions, commissions, installations, and publications in her five years with the art space including: the first US solo museum exhibition of Solange Pessoa, Longlilonge (2019); Candelilla, Coatlicue, and the Breathing Machine, featuring site-specific commissions from Beatriz Cortez, Candice Lin, and Fernando Palma Rodriguez (2019); the multidisciplinary, group exhibition and reader Hyperobjects co-organized with philosopher/professor Timothy Morton (2018); Tierra. Sangre. Oro. co-organized with rafa esparza, featuring esparza and Carmen Argote, Nao Bustamante, Beatriz Cortez, Timo Fahler, Eamon Ore-Giron, and Star Montana (2017); and six seasons of Artists’ Film International, the international video art collaboration headed by Whitechapel Gallery, with Brigid McCaffrey, The Institute for New Feeling, Arjuna Neuman & Denise Ferreira da Silva, Jibade-Khalil Huffman, Carolina Caycedo, and a forthcoming nomination of Miguel Fernández de Castro (2015-2020). She is organizing The Blessings of the Mystery by Carolina Caycedo and David de Rozas, a commission-based exhibition focused on the landscape of West Texas for Ballroom, opening June 2020. She was previously Assistant Curator at the Santa Monica Museum of Art, and received a dual degree in Art and English from UCLA.

Kathleen Ash-Milby was appointed Curator of Native American Art at the Portland Art Museum in 2019. Previously Ash-Milby was an Associate Curator at the Smithsonian National Museum of the American Indian (NMAI) in New York where she organized numerous exhibitions including Transformer: Native Art in Light and Sound, with David Garneau (2017). International projects include SITElines Biennial: much wider than a line, at SITE Santa Fe (2016); and Edgar Heap of Birds: Most Serene Republics, a public art installationand collateral project for the 52nd International Art Exhibition / Venice Biennale (2007). Ash-Milby was the curator and co-director of the American Indian Community House Gallery in New York City from 2000–2005. She has published widely on contemporary Native American art, including essays in Art in America, Art Journal, and contributed to and edited numerous exhibition catalogues. A member of the Navajo Nation, she earned her master of arts from the University of New Mexico.

Marvella Muro is the Director of Artistic Programs and Education at Self Help Graphics and Art. She spearheads the long-standing Professional Print Program, Barrio Mobile Art Studio (BMAS), and SHG’s multifaceted art and education programs. Since joining in 2019, she has curated ateliers and special projects in SHGs renowned serigraph studio established the Artists Committee to guide its monthly Artist Lab series. She also restructured its Artist in Residence program, now called Beyond the Press, inviting multidisciplinary artists to create a body of work with or guided by the SHGs community. As the head of education, she launched a Youth Committee and the Creative Lab partnership with the neighboring high school.

She was formerly the Community Engagement Manager at the Los Angeles County Museum of Art (LACMA), developing and executing art programs with community partners and artists in Compton, North Hollywood, and East Los Angeles. Prior to joining the Education team, she has various curatorial roles at LACMA and was Executive Assistant and project manager at USC Pacific Asia Museum in Pasadena. She has a B.A. in Art History from Cal State University, Fullerton, and an M.A. in Arts Management from Goucher College in Maryland.