(Left to right) Tykeen Robinson, New York City Department of Health; Paige Bellenbaum, Paige Bellenbaum Consulting; Alison Baker, Seleni Institute; Dr. Moshe Moeller, HERO Dads/ Montefiore Einstein Hospital; and 可乐视频 professors and leads for the college鈥檚 perinatal health courses Haroula Ntalla and Jacquelie Shannon at the 2026 可乐视频 Perinatal Mental Health Summit April 24. Shannon and Ntalla also led the efforts at the college to organize this and last year’s inaugural summit.

Titled 鈥淩elational Beginnings: Advancing Perinatal Mental Health for Parents, Infants, and Families,鈥� the second annual summit was held in partnership with United for Brownsville and the New York City Health Department at the Greg Jackson Center, for Brownsville. It focused on perinatal grief and the postpartum experience, and both maternal and paternal mental health, with particular attention to the importance of father support. The summit also highlighted dyadic and reflective group interventions grounded in relational and attachment-based approaches, along with culturally responsive, trauma-informed care for Latina mothers and families in underserved communities.

The Summit brought together a distinguished lineup of perinatal experts, highlighted by keynote speaker Solimar Santiago-Warner (DSW, LCSW, PMH-C) an accomplished clinician-scholar, educator, and leader in perinatal mental health with nearly two decades of experience across pediatric, neonatal, and perinatal hospital systems.

The event underscored 可乐视频鈥檚 commitment to addressing the national perinatal mental health crisis through its dynamic course offerings, community partnerships, and workforce development, all of which has garnered the support from Brooklyn Borough President Antonio Reynoso and most recently, Congressional funding championed by Chuck Schumer.

鈥淧erinatal mental health is foundational to the well-being of families,鈥� 可乐视频 President Michelle J. Anderson said. 鈥淚 am grateful to Borough President Antonio Reynoso and Senator Chuck Schumer for strongly supporting the College in establishing the Advanced Certificate Program in Perinatal Mental Health.鈥�

Held on the heels of Black Maternal Health Week, this event drew over 200 community members, clinicians, educators, students and others, and featured more than a dozen interdisciplinary health and mental health experts and served as a crucial platform to address one of the most urgent health care challenges facing Brooklyn and the nation today.

(Left to right) Paola Amaya-Rodriguez, LCSW, PMH-C, of Chances for Children, and Silvia Juarez-Marazzo, LCSW-R, NCPsyA, also of Chances for Children and an adjunct instructor at 可乐视频, co-presented on a panel focused on supporting Latina mothers.

鈥淲e designed this Summit to meet professionals where they are by partnering with the United听for听Brownsville and New York City Health Department in Brownsville to create space not only to learn, but to connect alongside interdisciplinary colleagues within our communities in meaningful ways,鈥� Shannon said. 鈥淏y integrating clinical expertise in early relational development, with a deep understanding of the social factors and inequities often shaping families鈥� lives, we鈥檙e advancing equitable perinatal care for all families by preparing students and practitioners to respond in ways that can truly transform outcomes for parents and their children.鈥�

The Summit featured a distinguished lineup of perinatal experts, including keynote speaker Solimar Santiago-Warner, DSW, LCSW, PMH-C, a clinician-scholar, educator, and leader in perinatal mental health who brought nearly two decades of experience across pediatric, neonatal, and perinatal hospital systems. At the summit, she spoke about integrating trauma-informed and culturally responsive frameworks into perinatal and reproductive mental health care, emphasizing how systems could better support families suffering from pregnancy and infant loss. Throughout her talk, she highlighted the need to bridge research, clinical practice, and lived experience to transform care systems in ways that honored both evidence and the realities of families.

The Panel on 鈥淟atina Mothers and Perinatal Mental Health: Barriers, Culture, and Pathways to Care鈥� included (left to right) moderator Silvia Juarez-Marazzo (LCSW-R, NCPsyA, from Chances for Children, and 可乐视频 adjunct Instructor); Laudy Burgos (LCSW-R, PMH-C, Associate Director, OB/GYN and NICU, Mount Sinai Hospital, who is taking perinatal mental health courses at 可乐视频); Mahbuba Choudhury (LMSW, OB/GYN, Mount Sinai Hospital; and Carmen Mu帽oz-Medrano, Hispanic Federation, also studying perinatal mental health at 可乐视频).

鈥淎s clinical faculty at 可乐视频, we are deeply connected to one of the most diverse campuses and communities in the country,鈥� Ntalla said. 鈥淥ur perinatal mental health initiative, which includes this summit and our accompanying coursework, allows us to partner closely with local health and mental health providers and families to address challenges and drive meaningful, education-based change to what is a national crisis.鈥�

Georgina Gooden is a parent leader, early intervention advocate, and community strategist based in Brownsville, Brooklyn. She also consults through Grassroots Perspectives LLC, providing community-based insights on programs impacting families, and works with United for Brownsville as an early intervention advocate, supporting families and elevating their voices in policy and decision-making spaces. strengthen family-centered systems. She has completed two perinatal mental health courses at 可乐视频 and is enrolled in two more. Gooden has also helped coordinate two 可乐视频 Perinatal Mental Health Summits.

Georgina Gooden

“Both the summit and the perinatal mental health courses at 可乐视频 are strengthening how I support families, giving me the language, tools, and clinical insight to pair with lived experience, so I can advocate more effectively and help shape systems that truly meet families where they are,鈥� Gooden said.

The summit was preceded by a Presidential Lecture Series event on April 23 at Brooklyn Borough Hall with President Anderson and nationally recognized leader Liz Dozier who engaged in a timely discussion on the Black maternal health crisis in the United States. The event was also attended by Borough President Reynoso. Read more about that event here.

(Left to right) Liz Dozier engaged in a timely discussion on the Black maternal health crisis with President Michelle J. Anderson as part of 可乐视频鈥檚 Presidential Lecture Series on April 23. The event was also attended by Borough President Antonio Reynoso, who has lent his support of the college鈥檚 perinatal mental health curriculum and programming.

2026 Perinatal Mental Health Summit Lineup:

• Greetings: President Michelle J. Anderson and 可乐视频 perinatal health curriculum leaders Jacqueline Shannon and Haroula Ntalla, Early Childhood Education/Art Education Department, 可乐视频.
• Opening Remarks: Mimi (Paulomi) Bhatt, PhD, MPH, CNM, FACNM, Assistant Professor at Rory Meyers College of Nursing at New York University.
• Keynote Speaker: Dr. Solimar Santiago-Warner, DSW, LCSW, PMH-C, Solmaterna Therapy & Consulting: 鈥淧erinatal Grief and the Postpartum Body.鈥� Solimar Santiago-Warner explores perinatal loss through an embodied, trauma-informed, and interdisciplinary lens, centering the postpartum body as a site of grief, memory, and resilience. Drawing from clinical practice, phenomenology, affect theory, and perinatal palliative care, the presentation examines how grief is experienced physiologically and relationally following stillbirth, late miscarriage, or early infant loss. Designed for a multidisciplinary and community-based audience, the talk offers practical tools, language, and interventions that professionals can immediately apply within their respective roles. Participants will gain approaches to support bereaved parents with greater dignity, compassion, and relational awareness across healthcare, mental health, and community settings.
• Panel 1: Fathers Matter: Perinatal Mental Health, Partnership, and Early Relationships
  Panelists: Paige Bellenbaum, LCSW, PMH-C. Paige Bellenbaum Consulting; Alison C. Baker, LCSW, PMH-C, Clinical Director, Seleni Institute; Moeshe Moeller, Ph.D., Director, HERO Dads, Montefiore Einstein Hospital. Moderator: Tykeen Robinson, MSW, Mental Health Program Manager, Bureau of Maternal, Infant, and Reproductive Health, New York City Department of Health and Mental Hygiene.
  Overview: Fathers/Non-Birthing Parents and Perinatal Mental Health. While much of the perinatal mental health conversation centers around mothers and birthing people, up to one in 10 fathers and partners experience significant mental health challenges during the perinatal period鈥攐ften in silence. Shame, stigma, and a lack of culturally responsive care prevent many from seeking support, leaving mental health conditions untreated. Limited support and access to appropriate care can impact not only the father鈥檚/non-birthing parent鈥檚 well-being but also the child鈥檚 development and the stability of the family system. One of the strongest predictors of paternal depression or anxiety is the mental health status of the mother/birthing parent. As such, an inclusive, family-centered approach to perinatal mental health is critical. This talk will explore the often-overlooked experiences of fathers and partners during the perinatal period. Participants will learn how to recognize the signs and symptoms of perinatal mood and anxiety disorders in fathers/non-birthing parents, explore the barriers they face in accessing care, and review practical, evidence-based strategies for engagement and intervention.
  The Transition to Parenthood: Supporting Both Parents. Perinatal mental health conversations often center on the birthing parent, but the transition to parenthood is a profound shift for both individuals in a relationship. This discussion will explore the emotional and relational changes that occur as couples move from partners to co-parents, including shifts in identity, roles, and expectations. Particular attention will be given to the often-overlooked experiences of non-birthing parents, who may face their own psychological challenges while feeling pressure to prioritize supporting their partner. Research shows that men whose partners experience postpartum depression are at significantly higher risk of developing depression themselves, yet they are far less likely to seek support.
  The Silent Partner: Fathers, Postpartum Stress, and the Couple Relationship. This presentation explores the often-overlooked experiences of fathers during the postpartum period. Drawing on clinical work with couples and the HERO Dads program, it highlights the emotional, relational, financial, and mental health challenges many fathers face while supporting partners with postpartum mood disorders and adjusting to the transition to parenthood. It will also address paternal postpartum depression and the importance of including fathers in perinatal mental health support.
• Presentation: A Relationship Held From the Beginning: Lessons from Dyadic Psychotherapy and Reflective Groups in Infant Mental Health Practice. Presenters: Silvia Juarez-Marazzo, LCSW-R, NCPsyA, Chances for Children, Adjunct Instructor, Early Childhood/Art Education Department, 可乐视频; Paola Amaya-Rodriguez, LCSW, PMH-C, Chances for Children.
  Overview: This presentation explores the power of early relationships through the lens of dyadic psychotherapy and reflective group practice in infant mental health. We will examine how perinatal and early relational experiences shape both maternal mental health and the developing parent鈥搃nfant relationship, influencing the trajectory of early relational health and overall well-being for years to come. The session highlights how perinatal and infant mental health interventions intersect and are essential, particularly for families from marginalized communities who face systemic inequities, racial health disparities, and the impact of intergenerational and collective trauma. As profound shifts in social policies impact the social environment of families, this presentation underscores the effectiveness of dyadic approaches as a catalyst for repairing trust in relationships and fostering hope. It further emphasizes the urgent need to prioritize relational, culturally responsive supports for mothers and their babies.
• Panel 2: Latina Mothers and Perinatal Mental Health: Barriers, Culture, and Pathways to Care. Panelists: Laudy Burgos, LCSW-R, PMH-C, Associate Director, OB/GYN and NICU, Mount Sinai Hospital, also studying perinatal mental health at 可乐视频; Kimberly Polanco, MSW, PMH-C, Birth and Abortion Doula and Childbirth Educator, OB/GYN, Mount Sinai Hospital, also studying perinatal mental health at 可乐视频 with Mahbuba听Choudhury, LMSW, OB/GYN, Mount Sinai Hospital; and Carmen Mu帽oz-Medrano, Health Program Coordinator, Hispanic Federation. Moderator: Silvia Juarez-Marazzo, LCSW-R, NCPsyA.
  Overview: Beyond Silence: Understanding and Responding to PMADs in Latina Mothers. Latina mothers experience perinatal mood and anxiety disorders (PMADs) at rates equal to or higher than non-Latina White women, yet these conditions are often under-recognized and under-treated. Symptoms may be expressed through physical complaints rather than emotional language, leading to missed diagnoses. Many Latina mothers face compounding stressors, including immigration-related fears, language barriers, economic hardship, and experiences of racism within healthcare systems. Cultural values such as familismo, marianismo, and respeto, along with stigma surrounding mental health, can influence whether help is sought. Structural barriers鈥攊ncluding limited insurance coverage, lack of bilingual providers, and logistical challenges鈥攆urther restrict access to care. Despite these obstacles, Latina mothers demonstrate strong resilience through family networks, spirituality, and community support. Addressing PMADs effectively requires culturally responsive, trauma-informed care that integrates mental health into perinatal services and centers the strengths and lived experiences of Latina mothers.
  Barriers, Stigma, and Strength: The Lived Reality of Latina Mothers鈥� Mental Health. Structural barriers such as limited access to culturally and linguistically appropriate care, lack of insurance coverage, immigration-related stress, and fear of engaging with formal systems can prevent many Latina mothers from receiving timely mental health support. Language barriers and the limited availability of Spanish-speaking providers can further complicate communication, increasing the risk of underdiagnosis or misinterpretation of symptoms. In addition, many Latina mothers face heightened economic stress, unstable housing, and demanding work conditions during pregnancy and the postpartum period, all of which can increase vulnerability to perinatal mood and anxiety disorders. Cultural expectations and stigma surrounding mental health also shape how Latina mothers experience and express emotional distress. Many feel pressure to embody ideals of strength, sacrifice, and self-reliance, which may discourage them from seeking help or openly discussing symptoms of depression, anxiety, or trauma. Family dynamics, migration-related separation from support networks, and experiences of discrimination within healthcare settings can further contribute to feelings of isolation. Addressing these issues requires culturally responsive care that centers language access, community trust, family engagement, and providers who understand the cultural context of Latina motherhood while recognizing the resilience and strengths present within these communities.
  From Barriers to Community Care: Culturally Grounded Support for Latina Mothers. Latina mothers face significant structural and cultural barriers that impact their mental health during the perinatal period. Postpartum depression and anxiety are often under-identified and untreated due to language barriers, stigma, socio-environmental stressors, and limited access to culturally responsive care. Many mothers prioritize family needs over their own well-being, delaying help-seeking, while unfamiliarity with the healthcare system and broader sociopolitical concerns further limit access to care. Culturally grounded, community-based approaches are essential in addressing these disparities. Programs like the Por Nosotras Maternal Mental Health Workshops, developed through the Hispanic Federation, create trusted spaces for open dialogue, peer support, and psychoeducation. By combining emotional support with practical resources, these initiatives reduce isolation and empower mothers. Expanding such programs and strengthening partnerships between healthcare providers and community organizations is critical to improving outcomes and ensuring equitable, culturally responsive care.
• Closing Remarks: Ashanda Saint Jean, MD, FACOG; Associate Professor, Department of OB/GYN, New York Medical College.

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Dozier and Anderson examined the structural drivers of Black maternal health disparities, emphasizing the role of higher education, philanthropy, and cross-sector partnerships in advancing change. They framed the crisis as both a public health and moral imperative, calling for accountability, policy reform, and community-centered care.

(Left to right) Liz Dozier, President Michelle J. Anderson, and Brooklyn Borough President Antonio Reynoso at Brooklyn Borough Hall.

Reynoso underscored the urgency of addressing maternal and prenatal health in New York City, citing data linking mental health conditions to pregnancy-associated deaths, many occurring postpartum. He highlighted borough听investments, including community baby showers, baby boxes, and partnerships with 可乐视频 to train providers, and stressed the need to confront systemic bias and the daily stressors affecting Black mothers.

In conversation, Dozier reflected on personal experiences that shaped her work at the intersection of education, justice, and philanthropy. She described how exposure to institutional failures early in life informed her belief that inequities are designed and can be redesigned. As former principal of Chicago鈥檚 Fenger High School, she implemented trauma-responsive strategies that dramatically improved outcomes, including higher graduation rates and reduced arrests.

These experiences led her to found Chicago Beyond, a philanthropic organization that has invested over $100 million in community-led initiatives. Dozier emphasized directing resources to leaders closest to the challenges, noting that many effective changemakers lack access to traditional funding networks despite demonstrated impact.

Attendees listen to guest Liz Dozier and President Michelle J. Anderson discuss the structural roots of maternal health disparities, while emphasizing the importance of education, policy reform, and community-centered care.

The discussion also focused on persistent disparities in maternal outcomes for Black women. Dozier pointed to racism, bias, and gaps in care, particularly the lack of a comprehensive continuum that includes mental health, nutrition, and family support, as key factors. Both speakers stressed that solutions already exist but require sustained investment and coordination across sectors.

Addressing misconceptions about perinatal mental health, they highlighted stigma and the tendency to overlook leading causes of maternal death such as suicide and overdose. They called for a broader, community-based approach and systemic reforms involving health care, government, and philanthropy.

A day later, on April 24, President Anderson joined faculty, clinicians, and leading experts in perinatal mental health at the 2026 Perinatal Mental Health Summit, held at the Greg Jackson Center for Brownsville.

可乐视频鈥檚 Presidential Lecture Series continues to bring influential leaders into dialogue with the 可乐视频 community, fostering engagement with critical social issues.

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Their final presentation comes from this year-long, two-part, thesis course, installed and on view to the public at the end of the academic year. This uniquely thoughtful and earnest display of paintings, printmaking, collage, sculpture, and various forms of mixed media practice features the work of the following artists.

2026 Exhibition Details

May 12鈥�26, 2026
Opening reception: May 12,听5 p.m.
Gallery hours: Tuesday, Wednesday, and Friday 10 a.m.鈥�5 p.m., Thursday from 12:30鈥�5 p.m..
The Art Gallery at 可乐视频

Meet the Artists

Nazanin Ashorzadeh

I am a multimedia artist working across painting, sculpture and photography to conjure the complexities of romantic and familial love. Born as a first-generation Iranian American, my practice explores the realities of womanhood and cultural diaspora by focusing on expressing the ideas of failed love and obsession. I aim to merge these concepts through the physical connection of steel and canvas. My acrylic paintings allow the fusion of steel to be an unlikely connection that represents a string which tethers nostalgia and romance to experiences recorded through memory and photographs. Whether large-scale acrylic paintings or small steel renditions of keepsakes, the goal of these works is to stir a discussion around the unintentional shortcomings of our loved ones and our willingness to treasure that which is in the past.

Raffell Bailey

I am a multimedia artist. My practice is rooted in the belief that personal growth is a continuous dialogue between the mind and the body. I am deeply interested in how discipline, self-awareness, and lived experience shape an individual over time, gradually molding identity through both intention and endurance. Through my art, I explore transformation not as a fixed destination, but as an ongoing practice. Each piece embodies moments of strain, balance, and adaptation, reflecting how the body strengthens through repetition and how the mind evolves through reflection. The textures, marks, and structural compositions within my work act as visual records of this process. They capture both control and vulnerability鈥攖he tension between stability and uncertainty that accompanies meaningful change.

Tomas Benincasa Reade

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I am a painter and draftsman. I see each artwork I create as a window into an imagined world, and thus I define my general practice as world building. My world building is informed by artists like Moebius, Hieronymus Bosch, or James Jean. These artists create works that are both otherworldly and unmistakably their own.

My art style is informed by my upbringing and heritage. I am a first-generation American with two Brazilian parents, and I was born and raised in New York City. Both cultures鈥攚hether it be the untamed nature and color of Rio de Janeiro, or the endless array of cultures and personalities in New York City鈥攁re brimming with energy. My artworks are similarly maximalist. When I create, I ensure that every inch of canvas is imbued with rich color, every ounce of paint is applied in an equally delicate manner, and every stroke is made with intention.

As such, my work draws upon the various types of art to which I was exposed throughout my life. It features the color saturation and defined forms found in Brazilian graffiti. It has the same simplified dimension seen in the Mayan, Egyptian, and Medieval Western European art I saw while exploring the Metropolitan Museum as a child. The warped physical proportions are reminiscent of the classic American animation style I grew up watching in cartoons. By grounding my art in these myriad influences, I create subjects that feel completely unique, yet vaguely familiar to the audience. While my artworks feel otherworldly and vast, the stories told within each piece are extremely intimate. Each piece focuses on a single person, relationship, or place. By rooting my work in real stories, I have the freedom to manipulate any aspect of my world without sacrificing the relatability of its message.

My own visual language is carefully designed to help viewers to investigate my imagined world. My painting technique revolves around a rather unorthodox layering of watercolor paint. By using meticulous glazes of paint atop vast washes of color, I create palettes that are both rich and delicate. By combining that with application with rounded forms, my works adopt a gentle, comforting atmosphere that is easy to explore.

David Cespedes

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My focus in my art currently has been the issues of colorism and self-identity in the Dominican community. It’s been a creative process where I鈥檝e been using a lot of symbolism鈥� where I鈥檝e been pointing out certain aspects of these ideas of colorism that I鈥檝e witnessed and tackling the root of these ideas. I use masks in these paintings to reveal the subjects鈥� true lineage and to not shy away from them, although the subject may participate in the realm of colorism. Although masks are usually shown as someone hiding their true identity and performing another, I do the opposite.

My artworks also identify where this idea comes from. I would usually show a skeleton wearing a Spanish conquistador armor set to essentially display what this idea is rooted in and also display that these old ideas still exist鈥攁nd with that in mind, I create pieces rejecting that idea. As a person coming from a Dominican background, I鈥檝e always wanted to shine some light on this topic. I do believe that it is important to talk about this topic in various ways and I believe that by painting these figures of colorism being rejected in these works, by adding a creative expression to a serious topic, it helps elevate the conversation. When it comes to self-identity, it is a more personal side that shows in my artwork because it has to deal with a lifelong battle of acknowledging your lineage and what group you belong to in the Hispanic/Latino community鈥攚hether you refer to yourself as an Afro-Latino, Mestizo, someone of mixed race, etc. These works are more inclined toward how it felt, and being experimental about how I felt, in those moments in time of being confused about the idea of having to identify yourself as a particular group, other than being Dominican.

Melissa Cosentino

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As a visual artist working with paper and oil pastels, I create work that is an honest yet playful defiance of the rigid expectations artists often hold themselves to, to make 鈥減erfect鈥� art deemed worthy by others. I see my characters as a microcosm of my internal world鈥攖hey are their own independent beings, yet are simultaneously reflections of my stream of consciousness. They act as a visual diary for my ongoing journey to break away from my harsh inner standards of worthiness; rediscovering art as an act of self-fulfillment rather than a source of external validation. My pieces are authentically and unapologetically themselves, with purposeful marks and imperfections visible as evidence of intention rather than of inadequacy. Through my artistic exploration, I seek to use my vulnerability as a source of strength, to reclaim creation as an act of self-acceptance rather than self-judgement, and to show that worthiness is our own to define.

Mars Harris

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Every day, thousands of items are discarded without the thought of being reused. I have made it my mission in my art practice to be as resourceful as possible. I utilize found materials such as magazines, cardboard, old canvases, and fabric. A huge part of everything that I do revolves around reusing and repurposing items that most people would ignore or even throw out. Art to me is about experience and experimentation, about expressing my joy and my fear, about living with the objects around me and finding a way to make something out of nothing. Due to this, my work takes form across many different mediums, from charcoal drawings to paintings, from paintings to sculptures made from scraps and newspaper.

My art also revolves around themes of connection, mental health, and growing up in a complex environment. The main focus of my work has been a series of works that follow a mother and daughter, Connor and Jen, over the course of their lives and through the struggle between Connor and her mental illness and drug addiction. There is a large range of emotions that come with a parent being addicted to drugs, and I hope to show that through my paintings. My goal is not to demonize those who are addicted to drugs, nor is it to exploit the themes of addiction, but it is to show the way that addiction affects a whole family, not just the person who is trapped in that cycle. These characters have grown up beside me, developed as I have, and have helped me through things that most people in my life haven鈥檛 heard the details about.

Shira 鈥淎dora鈥� Kenny

I am an artist who aims to capture my human identity through self-reflections in gouache, ink, and watercolor combined with expressionism and comic abstraction. I think of my own art practice as an act of presence, a depiction of in-the-moment ideas and purpose through fast mark making and sporadic color. I find the most satisfaction in life through creating tangible works of art and feeding into my own fascination with the body and what it means to be present.

Kisha Landais

As a Black non-binary artist who finds community development and belonging through craft, I especially value clay. It’s a medium that always grounds my practice and body. As I’m using clay as a therapeutic practice, I feel this connection to the earth and the communities that I deeply care about nurturing. Slowing down, listening, and building relationships is what clay allows me to do. The sense of safety and familiarity is an invitation for viewers to use clay themselves through repetitions of patterns, shapes, textures, and colors. My vessels and sculptures are an open gesture to encourage others to imagine themselves working with clay, reconnect with their hands, find their own moments of grounding and belonging, as it’s a place of connections.

Ashley Lord

My work explores the human experience as a journey toward holiness, navigating the temptations that can hinder spiritual growth. This collection presents a spiritual experience, exploring the interaction between misalignment and divine guidance. Through my work, I examine moments of indulgence and temptation as part of the journey, while showing that God鈥檚 presence and grace are always available.

I believe that spiritual awareness holds the potential to foster personal transformation and deepen our understanding of the world. While a relationship with the spiritual realm can sometimes feel overwhelming, exploring it is most meaningful and safest when guided by God. There are always forces that threaten our peace, joy, and identity, yet hope endures through faith. I often reflect on how I can become a better person for myself and others, and turning to scripture guides me toward honest, intentional reflection. I believe meaningful change begins within the individual, rather than hoping the world will change on its own.

This perspective influences my artistic practice, as I value how artwork can reflect an artist鈥檚 inner thoughts and emotional landscape. My work often begins as a simple visual idea, but over time, it develops into something more layered and meaningful than I first imagined. I trust the role of intuition in my creative process. I typically begin by imagining what would be visually compelling and then gather a diverse set of materials, ranging from pen, pencil, and paper to magazines, acrylic paint, air-dry clay, wire, books, and cardboard, to bring that vision to life. I welcome interpretation and find it meaningful to hear what resonates with people and what they take away from the work.

For the Redemption collage, I used images from a free library book about the production of an old Christian film called King of Kings (1961). The book included photos of actors and filming locations, which turned out to be perfect for the piece. I had been looking for free material for my next work, and I hope that, as viewers spend time with this particular piece, they continue to discover new details and meanings. In the collage, I cut and reshaped Mary into the form of an angel鈥檚 wing, symbolizing protection, hope, and divine presence. Even in times of suffering, doubt, or confusion, guidance is always present.

The collage with the woman and money falling around her is meant to depict her desperation and the moment where someone wants more than what they need. Focusing on what you lack rather than what you have can be destructive. The collage with the man and suggestive images around him serves as a sibling portrait, portraying lust. He’s an extension of the moral tension explored in the collection. I hope viewers find it relatable, whether through their own experiences or personal observations. In a way, he mirrors my own experiences as a woman encountering social advances, just as the piece about greed reflects the lure of excess. Together, these works explore temptation and the ways such impulses can challenge the pursuit of a spiritually mindful life.

These pieces are intended to capture moments of reflection, providing space to consider human impulses, choices, and perhaps their relationship with God and the world. Overall, the collection serves as a meditation on the human experience, offering awareness of the state of the world while affirming the enduring presence of God and His encompassing love.

Brithanie Lugo

When words aren鈥檛 enough, sometimes art is. The warmth of a sunrise, the unnoticed sorrow, or the quiet moments no one else sees. I strive to capture fleeting moments through illustrations and paintings, experimenting with light, color, and form. My instincts guide my hands, helping me turn what I see and feel into something palpable to others; through abstract pieces or detailed ones, exploring ideas and emotions that are difficult to express with words. The process of creating also forces me to address every feeling and thought that comes from it. A constant cry demanding to be seen. My work invites conversation鈥攐ccasions where I can share private moments and what matters most to me: my emotions, my perspective, my faith in Jesus Christ and the journey He鈥檚 taken me on throughout my life. My creative work allows me to bring those thoughts to life and share them with others.

Samantha Martinez

Samantha Martinez is a multimedia artist creating from the nostalgia of her home and memories. Born and raised in New York City in a very immigrant community, she has found herself surrounded by her Mexican roots all her life. Painting became a big part of her creative practice, especially in college through taking an oil painting course and being pushed to create her first 5-foot painting. Her ideas came naturally through themes and prompts she was given but outside of that she was always creating on her own. Her Mexican culture and connection to New York City fueled her ideas in many ways. Many pieces started off through childhood photographs and nostalgia. Others are based on loved ones and memories. Now a mix of it all is in 6-foot paintings as a love letter to her view on New York City.

The thesis is composed of acrylic paintings on raw canvas, hung from the ceiling to create an installation鈥攔ecreating the illusion of being on the train with the addition of recordings from train travels. Each panel tells its own story. One is her love story. Her first long-term relationship and support system for the past four years as their intimacy is shown in closeness and eye contact. Two, an ode to her CUNY education and current-day politics with a campaign poster and CUNY ad. Three, an homage to immigrants of New York City and the damaging government use of ICE in the country. Four, a family portrait celebrating her Mexican heritage and close familial relation.

Her father, Jesus Martinez, was always known to be the source of her creative being and spirit鈥攁 man who worked hard to provide his family with everything he did not have as a child, such as a home where a family could simply eat together as one. He brought her up to use her hands in crafts such as making pinatas or holiday decor for the home. Paper, glue, and scissors were the basis of all their projects. It was not until high school that she started to paint and experiment with a diverse number of mediums, one of those being video and editing. Her passion for video came from film and online media. As an addition to the installation, short videos have been created as an attachment to each panel, telling the story of how each panel was conceptualized and created.

Hideka Minami

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Painting is primarily used to further the discussion of how care moves through repetition and depends on the systems it operates within. Exploring the space of care that isn’t performative but rather repetitive, mundane, and habitual, it is practiced quietly, unnoticed, over time. Through delayed recognition, the past begins to reorganize itself. Actions that once appeared unified shift and fragment, taking on different forms of significance. Using the medium as a language model, it aids and dictates my visual storytelling. The work inhabits the space where recognition arrives, revealing the fragility of the structures we operate in.

Kevin Molina

Through the means of multimedia and experimentation, I explore a variety of topics鈥攕uch as icons, my culture, and political issues. I’m influenced by different art periods and the usage of photography to incorporate into my works, to create new objects through storytelling. The mediums and subjects I explore are repeated throughout my works, referencing my past pieces to create new ones and deepening the meanings of the works when approaching from a new angle.

Xinia Okoren

Through oil paints and printmaking, I visualize my experience of acculturation and the idea of home. Utilizing the time and repetition required for these media allows me the space for introspection within the composition. Sifting through memories, I navigate the nuances of nostalgia and the following emotions to create a tangible image of how I reconstruct my life within the country I was raised in, with distinction from the one I was born in. Accepting the divergence from the expectations brought upon the firstborn daughter of an immigrant family, these works resolve the internal conflict that came from such fragmented worlds into intricate textures woven together between the cultures that raised me.

Maliq Ruffin

The work that is being created is a comic book project idea. What sparked this idea was my motivation for drawing fictional characters. This is due to my fondness for animation as it has always inspired me to do art. Originally, I thought about becoming an animator and I would always draw fictional characters from existing media that I liked growing up.

The materials used for this project involve watercolor paint and pencils, mixed media paper, graphite pencils, stumps, color pencils, markers, and sometimes crayons. The process of this project involved cutting out the mixed media paper as evenly as possible, creating smaller pages. The scaling for the pages is approximately 9 inches by 12 inches, but the comic panels are each different in size. I would try to cut the mixed media paper as best as possible to make each page equivalently within the same size.

This comic book idea is solely based around my original characters. During my spare free time, I like to draw these characters and put them in different scenarios. The story for my project mostly focuses on two main characters named Z (full name: Zaquary) and Q (full name: Quebella), who are the male and female protagonists of the story. Both characters will be working together to save one of their planets from an up-and-coming threat, but will also be expecting assistance from an unexpected adversary. A villainous character will be teaming up with them after his own planet is taken over by the same monstrous threat that is attacking one of Z鈥檚 and Q鈥檚 worlds. This universe has two Earths, with one being the original and the other planet under a different name.

In regards to the different settings throughout the story, I would use still-life images from online as references for my work, in order to convey some realistic expectations when it came to incorporating trees, vehicles, roadways, and other elements into backgrounds.

Many of the color choices for certain backgrounds were sometimes based off of the image references that I used. However, in terms of the characters of the project, most of the color choices and designs of them are based on my original ideals.

Melissa Sanchez Cabanas

As a multidisciplinary artist, I create my artwork using various mediums, ranging across painting, screen printing, ceramics, fabric, and textile manipulation to create sculptural pieces. In the process of making my work, I use recycled fabric and materials to keep it sustainable and encourage this practice among others, communicating that art is accessible and relatable. Using anything, including old T-shirts, knitted scarfs, bed sheets, lace, sequin fabric, and discarded clothing scraps, I arrange my work to create a balance between texture and colors that complement each other, enhancing the properties of the material. Staying within the bounds of my Mexican culture, color is a prominent aspect that I focus on and portray in my work. The use of bright and striking colors in my choices of textiles also translates within my other mediums of work.

These selective mediums allow me to be and feel connected to my artwork, creating and using my hands to bring my ideas and emotions to life. Preferably working on a larger scale, I want my pieces to be relatable and to captivate viewers. Each piece created represents a part of myself and my community as a first-generation Mexican-American artist.

For my series, my parents are my biggest inspiration in my creation of art. They inspire me to pursue my abilities and raised me to grow and love my Mexican culture. Along with the beauty of the culture, there is pain and suffering deeply rooted in many generations. I wanted to highlight not only the struggles my parents faced but the dreams and experiences they have missed out on growing up鈥攅mphasizing their dreams and aspirations from a young age that have been put off and sacrificed in order to provide themselves and their children with a better life, a selfless act of love many parents wouldn’t hesitate to make.

Using textile to create a quince dress my mother never experienced and making sculptural representations of the shoes my father wore when crossing the border to the United States are some works that emotionally resonate with the majority of the Hispanic immigrant population. Bringing forward tribute to all those parents, and that thanks to their humble sacrifice and dedication to their kids, brought a new generation of grateful, hardworking, and generous people.

Elizabeth Sanni

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I am a Haitian鈥揘igerian American artist born and raised in Brooklyn, New York. Growing up in an immigrant household, I was given responsibilities at a young age: caring for my younger siblings, taking them to and from school, and managing tasks such as cooking and cleaning. While these duties are often normalized within Caribbean and African households, they shaped my early understanding of care, duty, and self. As the oldest daughter in a family of five siblings, my work emerges from the lived experience of becoming what I call the Haitian鈥揘igerian American parentified adult, a role shaped by responsibility, cultural expectation, and emotional translation. If I were to connect a film to the experience of my family and upbringing, I would reference Crooklyn. Like the film, my work reflects the rhythms of a large, tightly knit family growing up in Brooklyn, where responsibility, humor, and care coexist. This influence appears in my work through layered compositions, interconnected forms, and multiple figures that echo sibling dynamics and shared space.

Working across oil painting, digital art, and textiles, I create layered compositions where color and form carry emotional weight. Thread-like lines bind forms across the surface, symbolizing relationships, care, and responsibility. Influenced by the vibrancy of Haitian and Yoruba visual culture, I use saturated color, patterned surfaces, and layered materials to reflect memory and cultural heritage. In one work, I reference The Breakfast Club, reimagining its iconic composition as a moment of emotional release and connection. The piece reflects vulnerability, identity, and the shared experience of being seen by those you love. In another, a wood panel painting depicts my childhood self transitioning into adulthood, beginning with myself, skateboarding into life. Titled Where Your Flowers Grow, the work explores growth, movement, and the passage of time, capturing the ongoing evolution of self within my environment and family structure.

These threads and connections represent both tension and care. They reflect the bonds within diasporic families, where community and responsibility are deeply intertwined. The act of holding, supporting, and navigating these relationships becomes central to my visual language. Rather than centering trauma, my work focuses on the balance between pressure and softness. Moments of joy, humor, and play emerge within layered compositions, reflecting the childlike energy that persists within responsibility. Ultimately, my work explores how identity is shaped through care and one鈥檚 sustainability of self. Within that exchange, something enduring is created: resilience, perspective, and quiet joy. I remain rooted in gratitude despite complexity. I am still here, navigating, becoming whole, and that is enough.

Adelaide Snow

Dreamlike, playful, and abstracted works are created between written word and multimedia. These various landscapes explore emotionality and interior experiences. Working quickly is a tool to express emotionality, as the process is as important as the final project for me, with painting feeling instinctual. Starting from a phrase or even a simple word, I express how this idea makes me feel, and the images it creates. The paintings become 鈥渨ord-scapes,鈥� abstracted with new formal qualities, quiet expressions of interior and loved experiences.

Tia Turner

My work is about the deeper meaning and view of fantasy. I created my project based on Dark Fantasy for reality. Many people may say nature is beautiful and fulfilling, but I say it gets darker than that. My view of nature goes both ways; it’s like life, there are expectations and reality. One minute you’re living life to the fullest, then one wrong move can change everything. It’s like trees: when staring at them for too long, you start to see something else. For my world, I incorporated materials such as cardboard, aluminum foil, and faux plants to create a fantasy place no one would imagine. Creating art has always been scary for me because not everyone will agree with or like what you make, since it’s not something they would make themselves or even buy. I told myself that you were not born to please other people, but to show them what you can do. The theme of Dark Fantasy is for me a place to put my version of thoughts about what I believe really happened.

I want to showcase how it feels to be in my world鈥攕tarting with large trees on each side that should give you a dark, eerie feeling, as if someone or something is watching. I do want my audience to have their own meanings and views about my work, but I still want them to understand the original story behind it. Adding bright colors to the world of darkness still shows the beauty within it; that’s why I fused it, because yes, it can be scary at times, but try to explore and see the beauty through it.

Khan Vongjalorn

My art tackles and creates a space for me to express myself, similar to street and graffiti artists, who claim spaces through their art. I create and carve ceramic figurative sculptures using the visual language of graffiti. Common motifs in my works are faces, sea creatures, and phrases that express my emotions.

Despite being born and raised in Guam, and growing up Filipino and Thai, I鈥檝e always lacked the space and voice to truly express myself within these communities. I use ceramic sculptures to claim and create a space for other people who feel rejected by their community. I point to the human figure in my sculptures through expressive faces to convey a multitude of emotions. I use animals from my homeland to create a parallel between their relationships within their ecosystems and my experiences within my society.

The significance of graffiti in my work is to assert my presence, to express my desire to belong. I use various graffiti styles as a means of conveying emotions that come with not being granted space in my community. I choose forms based on the sense of placement they evoke. Although they may seem random or out of place, that very feeling reflects where I belong.

Anthony Zhang

I am a visual artist who works primarily with digital illustrations with an appreciation for animation. My passion for art is largely in part thanks to the support from my peers and I think my art is a reflection of my admiration for them. My goal is to pursue the feeling of excitement and gratification from the pieces I make; its process and the steps it takes towards improvement. Self-reflection is not something I’m interested in exploring, as I don’t consciously use my art as an outlet for deep or thoughtful contemplations; I just want to draw, improve, and learn. I think at the end of the day, I just want to say to myself that I’m happy with what I drew.

Li Zhi Zheng

I am a mixed-media artist who uses soft sculptures to explore nostalgia and hoarding. My works revolve around self-portraits placed in a sea of recreated childhood toys. I believe that each piece holds a treasured childhood memory and connects with my inner child.

These sculptures are made of various types of felt, such as needle and paper, as well as papier-m芒ch茅 and beads. Felt is a big representation in my sculptures because I want them to feel soft and look dreamy. In contrast with trinkets, which are usually made of plastic, I want to show how comforting they are to me in my personal space. They are a reflection of myself and how I visualize nostalgia. I embed clustered beads as a symbol of fragmented memories in my mind. As a whole, I created a space for how my memories are stored and memorialized. My art seeks those who resonate with their childhood memories the same way.

Encountering certain toys, I reminisce about memories of my siblings, who collected and shared them with me. I often envision a time when I had no struggles or worried about my future. These are the feelings I get when I collect; they become a fresh breath of air that clears my mind for a moment. I would purchase them in hopes of filling my room with memories of others.

Coming from an East Asian immigrant household, collecting and hoarding becomes a blurred line. My family would hoard due to low income and the fear of losing everything. Growing up, I have become adapted to a dad lifestyle where everything is a necessity. Although hoarding is often perceived negatively, I see it as a way to fill myself with happiness and an internal connection.

To this day, I still collect a lot of trinkets, which shows in a way there鈥檚 a part of me that travels back to my inner child. The desire and obsession to have a peaceful place to go back to, to rest from adult life, and to cheer myself up.

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The honor will be presented on May 14 at the NAIOP New Jersey鈥檚 39th Annual Commercial Real Estate Awards Gala at The Palace at Somerset Park in New Jersey.

鈥淓dwin Cohen鈥檚 achievements speak to a visionary and committed career in the real estate industry,鈥� says听Michelle J. Anderson,听president of 可乐视频. 鈥淗is devoted engagement with 可乐视频 derives from a similar commitment to excellence. We are proud to celebrate this well鈥慹arned recognition of his remarkable contributions.鈥�

The Lifetime Achievement Award, named for Charles Klatskin, a pioneering leader in the state鈥檚 commercial real estate industry, annually recognizes an individual who has shown a distinguished record of service to the commercial real estate industry and community.

鈥淓dwin Cohen鈥檚 career exemplifies the leadership, integrity, and long-term commitment that this award represents,鈥� says Dan Kennedy, CEO of NAIOP NJ.

Cohen has been one of the most prominent figures in the Tri-State Regional real estate brokerage and development community for more than six decades. In 2003, he joined longtime friend and associate Eugene Diaz to form Prism Capital Partners LLC, where he serves as a partner and principal. Under their leadership, Prism has grown into a major owner, developer, and investor in residential, commercial, industrial, and mixed-use properties throughout New Jersey.

Over the course of his career, Cohen has completed hundreds of real estate transactions across the New York, New Jersey, and Connecticut metropolitan area, including overseeing the leasing of several million square feet of office space. He previously served as an executive director at Cushman & Wakefield Inc., following senior leadership roles at Grubb & Ellis Company, where he held executive positions in both the firm鈥檚 New Jersey office and New York operations from 1986 to 1994.

Cohen鈥檚 career in real estate began in 1966, when he established and led the Suburban Division of Wm. A. White & Sons, a role he held until the firm鈥檚 acquisition by Grubb & Ellis in 1986.

In addition to his real estate achievements, Cohen has maintained a deep and long-standing commitment to education, culture, and community service. A graduate of 可乐视频, he has served on the school鈥檚 Foundation Board of Trustees for over 30 years, including four years as chair. 可乐视频 awarded him its Presidential Medal in 2011, followed by the Best of Brooklyn Award from the 可乐视频 Foundation in 2015 and a Lifetime Achievement Award in 2017.

Cohen has also been actively involved in the performing arts, helping produce and support numerous concerts and live entertainment events. These include the 鈥淏roadway by the Year鈥� series at Town Hall, the 鈥淏roadway by the Season鈥� series at Merkin Hall, performances at Manhattan鈥檚 54 Below, and live entertainment at the Barrymore Film Center in Fort Lee, New Jersey, where he also serves as a founding trustee.

His community leadership extends to faith-based and cultural organizations as well. Cohen was a founding member of the New Synagogue of Fort Lee, contributing to the early concept for its Holocaust Museum and playing a key role in the eventual merger of Congregation Beth Israel and the New Synagogue, now known as the Center Avenue Synagogue Since the merger, he has served as a vice president on the synagogue鈥檚 board of trustees and as a member of the executive committee.

With a career marked by professional excellence and civic leadership, Cohen鈥檚 selection for NAIOP NJ鈥檚 Lifetime Achievement Award shines a light on his lasting impact on both the commercial real estate industry and the communities he has served.

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President Anderson introduced Michael Ben鈥橝ry, a former career federal prosecutor who served for nearly two decades at the U.S. Department of Justice (DOJ) across multiple administrations. Last October, Ben鈥橝ry鈥檚 career took an abrupt and public turn when he was fired from his position at the DOJ, an event that raised questions about the department鈥檚 independence and highlighted the vulnerability of public institutions to political pressure. Ben鈥橝ry spoke about the pressures facing public institutions, the importance of professional independence within the justice system, and the consequences of eroding public trust.

Central to the discussion was the relationship between public confidence and the effective functioning of the justice system. Ben鈥橝ry emphasized that trust in federal prosecutions depends on a clear separation between politics and criminal justice.

鈥淭he separation between politics and the federal criminal justice system allows the public to have trust,鈥� Ben鈥橝ry said. 鈥淲hat is happening now, is the eroding of that trust, and eventually it鈥檚 going to make it harder for the Department of Justice to provide any measure of public safety.鈥�

He described public confidence as a 鈥渞eservoir of trust鈥� built over decades by career prosecutors committed to following the facts and the law. When he began his career at the DOJ in 2006, Ben鈥橝ry said he benefited from that legacy immediately.

鈥淲hen I introduced myself in court as representing the United States Department of Justice, people believed me鈥攏ot because of anything I had done personally, but because of the decades of prosecutors who came before me,鈥� he said. 鈥淚t took a long time to build that reservoir, and I鈥檓 concerned that it鈥檚 being drained.鈥�

Ben鈥橝ry warned that diminished trust can weaken the justice system鈥檚 ability to function effectively, making it more difficult to protect both public safety and national security. He noted that the DOJ encompasses far more than prosecutions, including agencies and programs that support communities, administer grants, and carry out public service missions.

鈥淲hen trust declines,鈥� he said, 鈥渁ll of that work becomes less effective. There should be confidence that when the department acts, it鈥檚 doing so because it鈥檚 good for the public, not that it鈥檚 based on a good thing for an individual, official, or that official鈥檚 friends and family.鈥�

President Anderson invited Ben鈥橝ry to reflect on professional ethics and leadership within public institutions, particularly during periods of political pressure. Ben鈥橝ry shared his experience supervising teams of prosecutors and the importance of anticipating ethical challenges before they arise.

鈥淚 encouraged the attorneys I supervised to think ahead and know where their red lines were,鈥� he said. 鈥淚f you鈥檙e asked to do something that isn鈥檛 legal or ethical, you need to be prepared to say no.鈥�

For students considering careers in law, government, and public service, the conversation offered a candid look at the ethical responsibilities that accompany institutional authority. Through events like the Presidential Lecture Series, 可乐视频 continues to engage the campus community in critical conversations about democracy, accountability, and the professional integrity required to sustain public trust.

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Next Generation interns spend two to six months engaged in programmatic work in locations across Africa, Asia, and New York, receiving close mentorship from ICAP staff throughout the experience. The program emphasizes applied learning, giving students the opportunity to translate academic training into practice while building professional skills in global public health.

Among the 可乐视频 students who have participated is Mujibur Shaad, whose internship in Kenya in 2025 offered a formative introduction to global health work on the ground. Reflecting on the experience, Shaad described his time in the program as 鈥渓ife-changing,鈥� citing opportunities to engage with local communities and to contribute to research focused on tuberculosis screening using artificial intelligence.

鈥淢y time in Kenya allowed me to connect with people I never imagined I would meet, witness experiences I never thought I鈥檇 have, and develop a new philosophy and perspective on life,鈥� Shaad said in a testimonial shared following his internship. He credited the experience with strengthening his passion for medicine and public health and inspiring him to pursue a career dedicated to serving others.

Shaad also emphasized the personal impact of the opportunity, noting that the internship supported his growth not only academically and professionally, but also as an individual. He expressed gratitude to The Tow Foundation for its support of the program and underscored the importance of continued investment in experiential learning opportunities for students.

鈥淧artnerships like ICAP鈥檚 Next Generation Program open extraordinary doors for our students, allowing them to apply their education in real-world settings while addressing some of the most pressing public health challenges of our time,鈥� said 可乐视频 President Michelle J. Anderson. 鈥淲e are deeply grateful to The Tow Foundation for its generous support of 可乐视频 students participating in this program. Their investment makes transformative, global learning experiences possible and helps prepare our students to lead with knowledge, compassion, and purpose.鈥�

The ICAP Next Generation Program aligns closely with 可乐视频鈥檚 commitment to experiential learning, global engagement, and preparing students to address complex social and public health challenges. By participating in internationally focused, research-informed initiatives, students gain valuable perspective on health equity, cross-cultural collaboration, and the global dimensions of public health practice.

As 可乐视频 continues to expand pathways for students to engage in meaningful, career-shaping experiences, partnerships such as the ICAP Next Generation Program play a critical role in connecting classroom learning with real-world impact, both locally and globally.

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That鈥檚 the bold premise behind this year鈥檚 H. Martin Friedman Lecture at 可乐视频, featuring Martin Chalfie, University Professor at Columbia University and recipient of the 2008 Nobel Prize in Chemistry.

On April 28, Chalfie will deliver his talk, 鈥淭he Continuing Need for Useless Knowledge: Finding the Unexpected to Enable Future Scientific Revolutions.鈥� His message is simple but compelling: Curiosity isn鈥檛 a distraction from progress鈥攊t鈥檚 the engine that drives it.

April 28, 2026

12:15 P.M. 鈥� 2:00 P.M.

148 Ingersoll hall extension

Hosted by the 可乐视频 Chemistry Society and co-hosted by the Department of Chemistry and Biochemistry, Chalfie鈥檚 lecture draws inspiration from a 1939 essay by Abraham Flexner, founding director of the Institute for Advanced Study, who argued that society鈥檚 obsession with 鈥渦sefulness鈥� often blinds us to the discoveries that reshape our understanding of the world. Flexner believed that true breakthroughs happen when thinkers are free to explore without a roadmap. Chalfie brings that idea into the 21st century, showing how curiosity鈥慸riven research continues to spark scientific revolutions.

Chalfie speaks from experience. He shared the Nobel Prize for pioneering the use of Green Fluorescent Protein (GFP)鈥攁 tool that transformed biology by allowing scientists to watch living cells in action. Yet his path to scientific acclaim was anything but straightforward.

Born in Chicago, Chalfie entered Harvard with an interest in science but graduated unsure of his abilities and uncertain about his future. He spent two years working a patchwork of jobs鈥攋anitor, clothing salesman, high鈥憇chool teacher鈥攂efore a chance opportunity in a research lab changed everything. One experiment worked. One idea led to a publication. And that moment of discovery gave him the confidence to pursue graduate school and, eventually, a career that would reshape modern biology.

From his postdoctoral work with Sydney Brenner in Cambridge to his decades of research at Columbia, Chalfie has helped illuminate how organisms sense touch, how neurons develop, and how cells maintain their identity. His contributions span genetics, neurobiology, and molecular biology, and his leadership roles include service in the National Academy of Sciences, the National Academy of Medicine, and the American Society for Cell Biology.

About the H. Martin Friedman Lecture

The H. Martin Friedman Lecture is an annual lecture series hosted by 可乐视频, typically organized by the Department of Chemistry and Biochemistry. It brings distinguished scientists and scholars to campus to present a public lecture on a topic in science, particularly in chemistry, biochemistry, and related fields. The event is part of a long-running lecture series named after H. Martin Friedman, who supported the college and this lecture series. In some years, the lecture has been given by eminent researchers and has helped introduce students (including high school students and undergraduates) to careers and advances in the sciences.

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A Week Framed by Scholarship, Community, and Social Transformation

Hess Week opened on March 17 with a Welcome Ceremony honoring Jeung鈥檚 residency. Joined by leading scholars Carolyn Chen, Jerry Park, and David Kim, the event highlighted the importance of research that bridges academic inquiry with community engagement and social change. Speakers reflected on the role of scholarship in confronting racial inequities and building coalitions across diverse communities.

That afternoon, the panel 鈥淭he Lives, Rights, and Civil Liberties of Asian Americans in an Age of Mass Deportation鈥� brought together experts in law, faith-based organizing, and advocacy to examine how contemporary immigration policies are reshaping Asian American communities. Panelists discussed tthe human impact of deportation, the rise of cross-racial solidarities, and the urgent need for policy reform that centers dignity and family unity鈥�.

Faith, Storytelling, and Healing

Events on March 18 turned toward the intersections of belief, belonging, and personal narrative. The morning panel, 鈥淏elief and Belonging: Faith Communities and Justice,鈥� explored how religious communities have become vital spaces of resistance and refuge for immigrants navigating systems of exclusion. Speakers explored the wide variety of faith traditions that exist across Asian American communities and generations and how those traditions influence community and political participation. They also emphasized the role of inter-faith-based鈥� networks in sustaining movements for human rights.

In the afternoon, memoirist Ava Chin, author of the bestselling Mott Street and CUNY faculty, joined Jeung for 鈥淩ecuperating Collective Stories: Writing Chinese American Memoirs.鈥� Together, they reflected on memory, migration, and the power of storytelling to reclaim histories that have been marginalized or erased. Their conversation illuminated how personal narratives can bridge generations and reshape public understanding of Asian American experiences.

The day concluded with 鈥淪truggling, Surviving, Thriving鈥擜sian American Mental Health,鈥� a timely discussion featuring scholars and clinicians including Clarissa S.L. Cheah and Cindy Liu. The panel addressed the socioemotional challenges facing Asian American adolescents and college students, especially after the increase in anti-AAPI hate crimes in 2020, 鈥憉nderscoring the need for culturally responsive mental-health support and community-based care. 可乐视频 Psychology Professor Erika Niwa ended the event by asking the audience to remember that 鈥渨e belong to each othe鈥憆.鈥�

A Vision for Justice: The 2026 Hess Memorial Lecture

The week culminated on March 19 with the 2026 Robert L. Hess Memorial Lecture, 鈥淎sian American Movements for Racial Justice: Resistance and Solidarity,鈥� delivered by Jeung. The Tanger Auditorium was filled to capacity to hear him explore the lessons we can draw from late-19^th century Chinese American civil disobedience campaigns and legal challenges to anti-immigration laws. Jeung invited the audience to imagine new possibilities for justice grounded in solidarity, resilience, and collective action.

A Collective Story of Community and Care

Across its three days, Hess Week 2026 offered a powerful narrative: of communities confronting pressure and exclusion, of faith and culture as sources of belonging, of storytelling as resistance, of mental health as a matter of justice, and of movements that insist on dignity for all. The series reaffirmed 可乐视频鈥檚 commitment to fostering dialogue, scholarship, and community engagement around the most pressing issues of our time.

All events were free and open to the public, continuing the tradition of making Hess Week a space for shared learning, care, and solidarity.

Recordings of the Hess week are available

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Dena Shottenkirk, Department of Philosophy, received the Jerome Krase Award, and Yoon-Joo Lee, Department of Childhood, Bilingual, and Special Education, received the Sandi Cooper Award. Both awards are part of the Jerome Krase / Sandi Cooper Awards, presented annually by the CUNY Academy in recognition of exceptional scholarly contributions in the humanities and sciences, including social and life sciences.

听honor听associate professors from across CUNY who are selected from a large pool of nominees听representing听all campuses. Award recipients receive university-wide recognition for their research and are invited to present their work in a public research talk hosted by the CUNY Academy.

Shottenkirk was honored for her work in philosophy. She is widely recognized for her scholarship at the intersection of epistemology and aesthetics. She is among a select group of听faculty听across CUNY to receive the Jerome Krase Award this year, reflecting the strength of 可乐视频鈥檚 research community.

Lee received the Sandi Cooper Award for her contributions to the field of education. She has been recognized across CUNY for her leadership in inclusive education and disability studies. Her work emphasizes the importance of amplifying marginalized voices and supporting future educators through听scholarship听and mentorship.

Named in honor of Jerome Krase, a founding member of the CUNY Academy, and Sandi Cooper, a former University Faculty Senate president and longtime member of the academy鈥檚 board, the awards underscore CUNY鈥檚 commitment to advancing impactful research and public scholarship.

The recognition of Shottenkirk and Lee highlights 可乐视频鈥檚 continued leadership in faculty research and its contributions to scholarship that advances knowledge, equity, and public understanding across disciplines.

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Centered on the theme 鈥淭he Reflective Educational Leader: Executive Coaching and Mindfulness in Practice,鈥� the symposium featured guest speakers Matthew Pearson and Talana Bradley from the New York City Public Schools鈥� Educational Leadership Executive Coaching Program. Their presentation, 鈥淐oaching Unlocked: Introduction to Leadership Coaching,鈥� introduced participants to leadership coaching practices and competencies, while outlining opportunities for 可乐视频 students and alumni to partner with them. The session underscored the college鈥檚 commitment to career preparation and professional growth for aspiring educational leaders.

The evening also included a moderated panel of NYCPS leaders, led by Assistant Professor Gerald Maraia. Panelists Crystal Davis, Lauren Keville, Robert Quinlan, and Hoa Tu reflected on how executive coaching supported their development as school leaders and continued to guide them as they advanced into district-level roles.

The symposium concluded with a workshop led by Assistant Professor Pedro De La Cruz titled 鈥淭he Inner Work of the School Leader.鈥� The session examined how mindfulness practices can strengthen clarity, judgment, and emotional steadiness under pressure. Participants engaged in guided exercises and reflected on how mindfulness could inform their future leadership practice.

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