Kaitlin Wilfing

Kaitlin Wilfing (she/her) is an artist, curator, and the Art Museum Preparator of the Katherine E. Nash Gallery and the Gallery Program Coordinator at the University of Minnesota. The primary art handler, archivist, and installation head in the Katherine E. Nash Gallery, Wilfing's other roles in the Department of Art include teaching and directing BA, BFA, and MFA students on how to conduct their work to professionally be on display in a gallery space. She coordinates with faculty, students, and other professional artists across three spaces in the Regis Center for Art on campus; the Katherine E. Nash Gallery, the Quarter Gallery, and the Regis West halls. 

Born and raised from St. Louis, Missouri Wilfing received her BFA emphasis in Painting and Drawing and minor in Psychology from Webster University. She studied abroad twice in Vienna, Austria to work on her art practice before moving to Minneapolis, Minnesota the Summer/Fall of 2025. A freelance curator since 2018, she has proposed, juried, organized, and installed exhibitions in many unique spaces - recently completing 30 installations before turning 30. Most recent shows she's curated have been focused on the diversity of paper making, histories and traditions of AAPI immigrants, a series of all women and non-binary exhibitions, and many more. In St. Louis, Wilfing had cultivated a variety of jobs at art institutions like the Mildred Lane Kemper Museum at Washington University, the Foundry Art Center (a non for profit), the Arcade Contemporary Projects at Webster University, and at the Pulitzer Arts Foundation. She has an affiliation to socially engaged visual exhibitions that focus on labors and teachings which have been historically overlooked or forgotten. She's taught workshops, volunteered at art fairs, taught at her alma mater, worked in artist guilds, shown her work in exhibitions, and more. 

In her personal artistic practice, Wilfing uses crochet doilies and embroidered lace fabrics to create surreal portraits; reimagining the sublime directly onto these domestic objects. Painting friends and family who've passed on, on these passed down objects, the works become a two fold tangible declaration of people loved and memory lost. All while using painting, photography, and sculpture to invoke historical context, play with the ideals of portraiture, and understand craft through intersectional feminism lens.