The deputy director of the Guggenheim arrived at her new job in January from a decade-long run as chief curator at MCA Chicago. There are few institutions on this list, but Beckwith’s tenure at her previous institution became synonymous with a diverse and intellectually rigorous programme, symbolised not least by the 2018 Howardena Pindell exhibition, which brought the late African-American artist canonical status. Likewise, in January, Beckwith was one of several curators who helped realise Grief and Grievance: Art and Mourning in America, an exhibition originally conceived by the late Okwui Enwezor, which opened at the New Museum, New York. In an interview for Artnet she posed the questions, ‘How can we possibly imagine how art is deeply embedded in the social? And has a responsibility to community?’ She has yet to inaugurate her programme at the Guggenheim, but for an institution embroiled in a race row prior to her arrival (an investigation found no evidence), she is a force of positive disruption.