Growing up going to museums, Kaci Merriwether-Hawkins didn’t see herself reflected in many of the works on display—or even among the gallery attendees. But over the last four years, through Black Girls in Art Spaces—a global community that champions Black women and their creativity in all forms—she’s been shifting the narrative around who belongs in the cultural sector.
At a time when cultural institutions are critically underfunded, women on social media are doubling down on their support for these fields, referring to themselves as “Women in G.L.A.M.” (Galleries, Libraries, Archives, and Museums). By showing off their workdays in the archives or their patronage of the local public library, they are countering the assumption that cultural work is a dying industry. And it’s not just a trend—this phenomenon reflects a growing, real-world demand for robust investment in the creative and intellectual spaces that move culture forward.
As Merriwether-Hawkins puts it, “the arts are just something that makes us feel so much more connected to our humanity.” An artist in her own right, she has been a practicing photographer and content creator for years. It wasn’t until she visited Kwame Brathwaite’s traveling “Black Is Beautiful” exhibition in 2022, however, that she realized her desire to facilitate community and challenge the notion that Black women don’t belong in the fine art world. Seeing that show led her to start BGIAS—long before Women in G.L.A.M. became a trend on social media. BGIAS began as an online platform to share her art experiences before growing into the international organization it is today.
“I see Black Girls in Art Spaces as a kind of community garden. I may have planted the seed, but it was never mine alone to water,” she tells Vogue. “This is a community-led community. We thrive off the support of the women who are involved, and I could not do it without them.”
BGIAS is made up of local chapters stretching from New York and Dallas to London and Nairobi, where members lead meetups. Their programming ranges from exhibition viewings and artist talks to theater performances and private workshops. Merriwether-Hawkins sees her role as empowering members to actively participate in the arts scene in their communities and build relationships that endure.
She also prioritizes breaking down barriers in an industry that is notoriously opaque to those who have been historically excluded. By connecting with museum professionals ranging from curators to public program coordinators, she is working to bridge the gap between experts within institutions and the audiences they are often trying—but can struggle—to reach.
“One thing I love about BGIAS is that it allows me to be a connector,” Merriwether-Hawkins shares. “Not only are we connecting people to the works, but also to opportunities.”
“Having the opportunity to speak with these curators, artists, and museum professionals is invaluable,” says archivist and BGIAS member Asha Abdul-Mujeeb. “That’s something that probably wouldn’t happen if not for BGIAS, unless they were already in the field. A lot of girls and women come to her events because they are not—and they want access.”
The arts can be intimidating to those who have had limited exposure to them—but by creating spaces for connection, Merriwether-Hawkins is extending an invitation to be unapologetically present. “It’s so beautiful seeing the transformation at these events. At the beginning, people are a bit more reserved and are doing introductions, but by the end, everyone has come alive, and you can feel the joy in the space,” she says.
“I get emotional thinking about how seeing Black women comfortable and at ease makes me feel, but that’s really why I started this,” Merriwether-Hawkins goes on. Her ultimate goal? Simple: a more inclusive art world.