➞ Hyperallergic

“We want the artists to feel like they're in a sustainable work environment, and we're supplementing our artists as people, so that they can make the decisions around how they can support themselves,” Anne Ishii, USA Programs Director, told Hyperallergic in a phone call. “Too often, I think what happens is, when it's project-based, there's now the pressure to deliver something that's beholden to the criteria of yet another overseer.

"While the fellowship doesn’t control how artists spend their award, USA does survey its artists about what they intend to do with the funds. Increasingly, over the past 20 years, artists have shifted from stating that they will fund their practice to addressing housing, healthcare, and livability.”

➞ KTOO

“It’s a wild gift to have somebody just hand you some money and say, ‘Do what you will,’” Lily Hope said. “There are absolutely zero parameters on how it is used.”

➞ Urban Glass

“It feels like a powerful way to begin the year. 2025 was a difficult one for many reasons. For Crafting the Future, it brought the loss of government funding and the necessity of adopting carefully coded language in order to continue our mission of serving underrepresented artists.

“The [USA] Fellowship is a much-needed reminder of the value of the often unsung labor of artists. While the financial support is significant, the award represents far more than that. It is recognition that my work matters, and an affirmation to keep going. Just as importantly, it is an honor to join such a prestigious cohort of creatives — to be part of something expansive, hopeful, and larger than any one of us.” – Corey Pemberton

➞ Broadway World

“I'm deeply honored to be in the 2026 USA cohort and the legions of artist heroes we join — including Ping Chong who received this award in the inaugural cohort twenty years ago. This recognition is powerfully affirming.” – Mei Ann Teo

➞ Chicago Tribune

“People dedicate their life to making art because it’s not only a necessity to be engaged with others and influence through ideas and the imagination, but it’s also a form of surviving,” Edra Soto said. “Making art has saved my life.”

Having used her retirement money to move to Chicago three years ago, Sharon Udoh plans to use her fellowship funds to “(recuperate) my retirement and (make) a lot of records.” She also hopes to donate to local organizations that have helped her get to where she is.

“First and foremost, the funds will help me stay afloat, just in everyday life. But it also keeps my collaborations afloat, and my collaborators,” Ben LaMar Gay said. “If our project can stay afloat, they can benefit from it as well.”

➞ Albuquerque Journal

“Other artists I’ve known in the past who have gotten this award are artists I really look up to,” Eric-Paul Riege said. “So being part of this new cohort … is really special. This was my third time being nominated for this award, so third time’s a charm!”

Riege, an internationally-exhibited fiber-based artist known for his large-scale installations, wearable art and avant-garde performances, said the award will allow him to take on even more ambitious projects.

“I like to work big, so having a larger loom will let me expand that even further,” he said. “Also, material can be expensive. I work in fabric, and I like to go to thrift stores and buy fabric, because it’s cheaper. But I also like to use different natural hides and furs, like sheep hides and deer hides, and those can add up. So, I’ll be able to expand my material range into new areas.”

➞ The Dominion Post

“I’m looking at the people in the cohort, and I’m still trying to process it all,” Aristotle Jones said. “Granddad used to always say, ‘You know what you’re doing. So go out there and get it done.’”

➞ Artforum featured the announcement and full list of 2026 USA Fellows.