Dr. Mónica Ramírez-Montagut is the director and chief curator of the museum since 2014. Under her tenure Newcomb has presented innovative projects including "EMPIRE" by artist collective Fallen Fruit, "Per(Sister): Incarcerated Women of Louisiana," "Unfamiliar Again: Contemporary Women Abstractionists," "Marking the Infinite: Contemporary Women Artists from Aboriginal Australia," and solo exhibitions by artists such as KAWS, Mickalene Thomas, Diana Al-Hadid, Andrea Dezso, Hank Willis Thomas, and Kate Clark among others. Ramírez-Montagut received her B.A. in Architecture from the Universidad Iberoamericana in Mexico City and her M.A. and Ph.D. in Architecture from the Universitat Politècnica de Catalunya in Barcelona, Spain. Most recently, Ramírez-Montagut was the Associate Director and Senior Curator for MACLA/Movimiento de Arte y Cultura Latino Americana and previous to that she was the Senior Curator at the San Jose Museum of Art, both in San Jose/Silicon Valley, California. She has also served as Curator at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, working with artists such as KAWS, Hope Gangloff, Erik Parker, Alejandro Diaz and others; Assistant Curator of architecture and design at the Solomon R. Guggenheim Museum, New York, where she worked on groundbreaking exhibitions such as "Cai Guo-Qiang: I Want to Believe," "Zaha Hadid," and "Restoring a Masterpiece: Frank Lloyd Wright‘s Guggenheim Museum"; Curator of Collections and Public Programs at the Price Tower Arts Center in Bartlesville, Oklahoma, a facility housed in Frank Lloyd Wright’s idiosyncratic tower and now a World Heritage Site; Director of Community Outreach of the Queens Theatre in the Park in New York City, a premier performing arts venue that serves the most ethnically diverse county in the nation; and as Project Coordinator for the Mexico Now Festival, New York City’s first—and only—annual festival of contemporary Mexican art and culture. Some of her publications include "KAWS" (Rizzoli, 2010) and "Erik Parker, Colorful Resistance" (Rizzoli, 2012).