From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.

“Galicia se vació en Cuba” (Galicia emptied itself into Cuba) once noted an old Gallego when I visited the region decades ago and commented about my grandparents migrating to Cuba. 

And thus it was never a surprise to me that my father was both a fighter against heavy-handed rulers, a lover of freedom, and one who was never afraid to re-start a life for the better, even if it involved discarding the old. 

My father could have been one of the privileged few who currently rule  atop the food chain of Cuba's brutal Socialist Workers' Paradise. But instead of accepting the benefits of oppression, this most valiant of men chose the harsh path of right over wrong.

And he paid for it dearly (he spent years in concentration camps), but when he died, his soul was clean.

In his youth, my dad worked the harsh hours of the son of an immigrant who was slowly building a small land empire in eastern Cuba. My father was pulled from school as soon as he learned to read and write, and like his two other brothers and eight sisters, he was expected to work and contribute to building a familial empire.

And he did, as my mother relates the stories of my father's childhood in the fields of eastern Cuba, a blond creole in a land of jingoist natives... he trying to out-Cuban the "real Cubans"... how he organized a labor union of the exploited Haitians who worked almost as slaves at the Los Caños Sugar Mill, how he joined a group of bearded rebels in the mountains of the Sierra Maestra in the fight against a tyrant, how he ran for the leadership of the Sugar Workers' Union and beat the Communists to the post, and how he spent years in a Castro Concentration Camp, jailed for the crime of refusing to join the Party, because he believed in Democracy and not in Communism. 

And because of that stubbornness, in the 1960s he was offered the bitter pill of exile, and this brave man decided to choose family... and left his birth place, and thus became another immigrant within two familial generations and brought his wife and child to another new land.

And it is to him that I owe the greatest gift that a father can give a son: the opportunity to grow in freedom in the greatest nation in the history of this planet.

It is because of my father's courage that I was raised in this country and not in a land bloodied by Communist brutality and oppression.

It is because of my father's teachings that I was raised with the conviction that freedom is not free and never to be taken for granted; after all, he fought for freedom and then Castro, the man who inspired  the fight, ended up being a worse dictator, eventually destroying all notions of freedom for all of his people.

It is because of my father that I was taught that every citizen owes his  nation some form of service, and that's the main reason that I signed (at age 17) to serve in the US Navy.

It is because of my father that I despise anyone who hides behind the mask of victimism to excuse failures and shortcomings.

When our family arrived in New York in the 1960s, my father began to work in a factory three days after he landed at the airport; my mother (who came from a privileged Cuban family and had never worked a day in her life) found a job as a seamstress five days later. That pattern was repeated for decades as they worked their way in a new nation.

"We thought we'd be back within a few years," was the answer given to me when I once asked the question about leaving their birthplace. When that didn't materialize, they became fierce Americans in the "United States of Americans" sense... these were the "America None Better!" set of immigrants, and in my Dad's case, you better be ready to fight if you dissed the USA.

"Americans"!

Always a fighter he was... and always for the right reasons.

Cubans are archaic immigrants... we love this great nation because we  recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

And my Dad loved this nation perhaps even more than he once loved Cuba... perhaps it is the genetic disposition of the serial immigrant. After all, his father had left his own ancient Celtic lands and kin for a new land... which he learned to love dearly.

My father always wanted to make sure that I knew that I was an "Americano" and not another forced-on label.

"Labels," he'd say, "are just a way to separate people."

By labels he meant "Hispanic" or "Latino" or anything with a "-" between two ethnic words.

I also remember as a kid in Brooklyn, when he bought a huge Hi-Fi record player-color-TV console... that thing was gigantic. He bought it "take home lay-away" and he'd pay $10 a week to the store and him and I would walk all the way from our house on Sackman Street to the store on Pitkin Avenue to make the payments every Saturday - he never missed a single payment, and that taught me a lesson.

It was soon playing my Dad's favorite music, which oddly enough was Mexican music (Cuban music was a close second)... and he knew all the words to every charro song.

Guadalajara en un llano, Mejico en una laguna... 

Guadalajara en un llano, Mejico en una laguna...Me he de comer esa tuna 

Me he de comer esa tuna.... aunque me espine la mano.

That Jorge Negrete song... being shouted often on weekends at the top of his lungs from our apartment in an Italian neighborhood in East New York in Brooklyn must have raised some eyebrows.

My dad and I watched Neil Armstrong land on the moon on that TV set... we also watched loads of Mets games... and in 1969 and 1972 went to Shea Stadium to see the Mets win in '69 and lose in '72. He really loved baseball and he really loved those Mets!

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, so my Dad decided to migrate south to Florida and moved to Miami... just to be close to me.

He and my mother spent the next 40 years in the same apartment while I was stationed all over the world.

When I visited him today in Miami, he looked good and freshly shaven... this is a good thing, as my father was a freak about hygiene... and that's a common "creole" trait.

The hospice nurse almost teared up when I told her that my parents have been married for 60 years.

I looked at this old "gallego"... his skin as white as paper, his eyes as blue as the sky, and his head (once full of blond hair) as bald and shiny as the old Cuban sing song ("Mira la Luna, mira al Sol... mira la calva de ese.....") and I saw the generations of Neanderthals, Denisovans and Gallego Homo Sapiens that led to my bloodlines... the generations of fighters, of strugglers, and of tough guys who didn't take no for an answer and who made a better place for others. 

And I felt at peace and grateful.

And as my father died tonight, after an extubation,  all that I can think  to say to him is "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Dad... Un Abrazo Fuerte! Thank you for your gifts to me and my children and it is no coincidence that you died on El Dia de Los Reyes.

From the WPA:

We're pleased to announce the 10 grant recipients for the 2026 funding cycle of Wherewithal Grants, providing financial support and peer mentorship for DC-area artists in areas of research and project presentations. Six artists and collectives have been awarded with research grants of $5,000 each, and four artists and collectives have been awarded with project & presentation grants of $7,500 each, for a total disbursement of $60,000 this cycle.

Research grantees: Gia Harewood, Jackie Hoysted, Brooke Jay & Chrystal Seawood, Christopher Kardambikis, Adriana Monsalve, and Kat Thompson.

Project & Presentation grantees: abdu ali mongo & Maleke Glee, Sobia Ahmad & Benny Shaffer, Ama BE, and Shariq Shah.

Over the next year, artists from this cohort will organize projects including: a multi-genre publication inspired by the Black queer body in motion; a three-day symposium bringing together a cohort of artists, filmmakers, and poets whose work probes land and film as reciprocal sites of encounter; a performance dinner; and an intergenerational cooking workshop. Others will conduct research around fascinating topics such as: soil memory, mycology, diasporic memories and language, and the history of DIY publishing in the 21st century.

Throughout the yearlong grant cycle, grantees will produce their work independently and in dialogue with one another, convening regularly as a group facilitated by Nathalie von Veh, Wherewithal Regrants Manager.

An independent panel of four artists and curators reviewed 113 applications and are awarding 10 grants. The adjudication panel consisted of: Jenna Crowder, Writer and Editor (Washington, DC); Krista Green, Grit Fund Program Manager, The Peale (Baltimore, MD); Rex Delafkaran, Artist and Wherewithal Alum (Chicago, IL); and Sara O’Keeffe, Senior Curator, Art Omi (Ghent, NY). They evaluated each proposal based on the criteria of Artistic Impact, Context/Audience, Collaboration, Feasibility, and Budget.

 National Portrait Gallery Announces Winners of the Seventh Outwin

Boochever Portrait Competition and Opening of

“The Outwin 2025: American Portraiture Today”

Kameron Neal Receives $25,000 and New Commission 

as First-Prize Winner of the National Triennial

The Smithsonian’s National Portrait Gallery has announced Brooklyn-based artist Kameron Neal as the first-prize winner of the seventh national Outwin Boochever Portrait Competition. Neal’s two-channel video installation “Down the Barrel (of a Lens)” (2023) draws upon his time as a public artist in residence at New York City’s Department of Records, and it places the audience between two screens of declassified New York Police Department surveillance footage filmed between 1960 and 1980. As the first-prize winner, Neal will receive $25,000 and a commission to create a portrait of a living individual for the museum’s permanent collection. “Down the Barrel (of a Lens)” will be on view as part of “The Outwin 2025: American Portraiture Today” exhibition, co-curated by the competition’s director Taína Caragol, the Portrait Gallery’s senior curator of painting and sculpture, and Charlotte Ickes, the Portrait Gallery’s curator of time-based media art and special projects.

Held every three years, the Outwin Boochever Portrait Competition is dedicated to supporting the next wave of contemporary portraiture in the U.S. “The Outwin 2025: American Portraiture Today” will be on view at the museum Jan. 24 through Aug. 30, 2026. From the exhibition’s opening through April 5, 2026, visitors—in person and online—can vote for their favorite artwork to receive the People’s Choice Award.

Previous first-prize winners of the national competition include David Lenz (2006), Dave Woody (2009), Bo Gehring (2013), Amy Sherald (2016), Hugo Crosthwaite (2019) and Alison Elizabeth Taylor (2022).

Second prize for the 2025 competition was awarded to Jared Soares of Washington, D.C., for his photograph “Misidentified by Artificial Intelligence: Alonzo and Carronne” (2023), a portrait of a Maryland resident who was falsely accused of a crime and arrested based on facial recognition software. Third prize was awarded to David Antonio Cruz of New York City for his painting “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023). Part of the artist’s “chosenfamilies” series, the painting shows the artist with Archel, one of his lifelong friends. Soares and Cruz will receive $10,000 and $7,500, respectively.

“As the Outwin Boochever Portrait Competition rounds the corner on two decades since its founding in 2006, it continues to highlight contemporary artists working in portraiture who push to expand preconceived notions of the centuries-old genre,” Caragol said. “The 2025 competition-based triennial invites visitors to explore how artists are engaging with portraiture, sometimes embracing its tradition and other times redrawing the boundaries of the genre, with the intent of examining what it means to be human.”    

“The Outwin 2025: American Portraiture Today” includes 34 portraits (by 35 artists) in mediums ranging from painting, photography and sculpture to immersive, time-based media installations. The artworks were chosen from more than 3,300 submissions to an anonymous open call, which was juried by experts in the fields of portraiture and contemporary art. The finalists include portraits by artists based in 12 states, Washington, D.C., and Puerto Rico.

Jurors for the 2025 Outwin Boochever Portrait Competition were Carla Acevedo-Yates, curator, writer and member of the artistic team for documenta 16; Huey Copeland, the Andrew W. Mellon Chair and Professor of Modern Art and Black Study, Department of History of Art and Architecture, University of Pittsburgh; LaToya Ruby Frazier, artist; and Daniel Lind-Ramos, artist. “The Outwin 2025” co-curators Caragol and Ickes also served on the jury with Rhea L. Combs, the Portrait Gallery’s former director of curatorial affairs. The full list of exhibiting artists is below.

“The Outwin 2025: American Portraiture Today” will be accompanied by a fully illustrated catalog available at the museum’s store or online.  

The competition and exhibition are made possible by the Outwin Boochever Portrait Competition Endowment, which was established by Virginia Outwin Boochever, a longtime docent at the National Portrait Gallery. The endowment is sustained by her family.

 Eleven years ago my father died on this day... here's my eulogy from that date:

"Hoy se ha caido otro roble en la selva del amargo exilio" is how I always thought that my father's eulogy would begin once he died.

"Today another oak falls in the jungle of bitter exile," began the eulogy for the man whose bloodlines my children and I carry on.

Florencio Campello Alonso died today at age 90 in Miami, the heart of the bitter Cuban Diaspora. Like many Cubans of his generation, he was the son of European immigrants to Cuba. His Galician parents left the scraggy mountains of northern Spain's ancient Celtic kingdom and in the first decade of the 1900s migrated to the new nation of Cuba upon its liberation from Spain.

Galicians have always been uneasy subjects of the Spanish crown, stubbornly hanging on to their ancient Gaelic traditions, to their own language and to their bagpipes, so it is no historical surprise that they left their mountain homelands en masse and headed to the new tropical paradise of Cuba, free from the heavy hand of the Spanish monarchy.