Jennifer Teets is a Houston, Texas–born curator and writer based in Paris since 2009. Her practice has developed over two decades through exhibitions, research, writing, and institutional programs across the United States, Latin America, and Europe. Her interests span the poetics of science and technology, writing, conceptual art, and institutional practice, with particular attention to the forms of knowledge that emerge through their intersections.
She recently served as the inaugural Artistic Director of
PAC Art, Houston (2025–2026), where she led the organization’s artistic program and international initiatives during its transition to a permanent venue. Her tenure included two presentations of work by Houston-born artist Mel Chin, notably Mel Chin: Living Score (April–July 2026), a selection of largely unexhibited drawings, preparatory sketches, and sculptural studies spanning five decades of the artist’s practice.
Teets is co-editor, with Brit Barton, of the winter 2026 edition of
Art & Order , focused on infrastructure and growing out of her earlier work on the subject. She is also co-editing, with Audrius Pocius, Measures of Decline, a twenty-year survey of writings by Lithuanian artist Darius Mikšys. She is the editor of the essay and poetry collection
Electric Brine, published by
Archive Books in 2021, with contributions by Dionne Brand, Barbara Orland, Sophie Lewis, Esther Leslie, Hannah Landecker, and Lisa Robertson.
Teets has curated numerous exhibitions, performances, and talks with artists and thinkers since the early 2000s, including: Darius Mikšys’s Plebiscite, VDA and Meduza, Vilnius (2026); Mel Chin: Living Score, PAC Art, Houston (2026);
Intimate confession is a project, Blaffer Museum of Art, University of Houston (2023-24);
Carbonate of Copper, Artpace, San Antonio (2022);
Wager of Word, Beeler Gallery, Colombus College of Art & Design, Colombus, Ohio (2018);
The Pump, Royal College of Art in collaboration with Flat Time House, London (2015);
Elusive Earths, Etablissement d'en Face, Brussels (2014); Pharmacokinetics of an Element, CAC Vilnius (2014);
Vinimos a soñar, Museo El Eco, Mexico City (2012); A CLOCK THAT RUNS ON MUD, Stereo, Poznan (2011);
This place you see has no size at all, Kadist Art Foundation, Paris (2009-2010);
Atmospheric Politics, Evens Foundation in collaboration with the 10th International Istanbul Biennial, Istanbul (2007).
Her exhibitions have been reviewed in
Frieze (Elusive Earths, Établissement d'en Face, 2014);
Art Agenda (Elusive Earths III, Parallel Oaxaca, 2016);
e-flux Criticism (Intimate confession is a project, Blaffer Art Museum, 2024).
From 2018 to 2024, alongside curating, Teets convened and directed
Matter in Flux (MiF), a mentorship circle tied to themes concerned with artistic inquiry, philosophy of science, and ecology. MiF emerged as an activity connected to the late, self-led initiative
The World in Which We Occur (TWWWO) that Teets co-directed between 2014-2019. Read more on Mif and TWWWO in this interview in
TANK.
From 2003-2007, she spearheaded the contemporary art program at the Sala de Arte Público Siqueiros, the former home/studio of Mexican Muralist David Alfaro Siqueiros in Mexico City where she initiated her curatorial practice in the early 2000s.
She was a resident curator at Platform Garanti CAC in Istanbul (2007-2008) and
Kadist Art Foundation in Paris (2009). She has guest lectured at the
University of Applied Arts Vienna, Oslo School of Environmental Humanities, University of Oslo, Institute of Experimental Design and Media Cultures Basel, Städelschule Frankfurt, Vilnius Academy of the Arts, Goldsmiths London, CCA San Francisco, amongst others. Teets served as a jury member for Pro Helvetia’s Innovation & Society division in 2023.
Teets holds a double BA from the University of Texas at Austin in Latin American Studies and Cultural Geography (2001) and an MA in Experimentation in Arts and Politics from
Sciences Po (2014). She studied under the late sociologist and philosopher Bruno Latour at Sciences Po from 2013–14.
She has written extensively on contemporary art and curating for international art magazines including
Art Forum,
ArtReview,
Mousse, Spike,
Terremoto,
Topical Cream, and
e-flux Criticism, as well as numerous artist monographs and exhibition catalogues. Her writing is available
here.