Ramona Ngin is an art worker, writer, and curator from San Francisco. She lives in Providence, Rhode Island.

She is currently the curatorial assistant at the MIT List Visual Arts Center and an art editor at n+1.

She has worked at institutions including the CCA Wattis Institute for Contemporary Arts, the Whitney Museum of American Art, the Brooklyn Museum, the Bell Gallery at Brown University, The Dig Radio, and The MIT Press. 

She writes about art, history, and politics. Her writing has been published by Momus, C Magazine, The Amp, The Drift, Boston Art Review, and e-flux, among other publications. Her most recent essay, "Love Letter Incinerators," is about Martin Wong's prison paintings. 

She has curated or co-curated solo exhibitions of Elif Saydam, Kite, and Every Ocean Hughes. She has assisted with exhibitions and projects by other artists including Steina, Goldin+Senneby, Pedro Gómez-Egaña, American Artist, Red Canary Song, Basel Abbas and Ruanne Abou-Rahme, Jeremy Couillard, Hana Miletić, Carrie Mae Weems, and Jaune Quick-to-See Smith.

Her interests include experimental moving image and performance practices; trans and queer study; visual cultures of colonialism and anti-colonialism; histories of critique and criticality; and the political economy of art.

With Natalie Bell, she curated the exhibition Performing Conditions: Artistic Labor and Dependency as Form at the MIT List Visual Arts Center. It is on view until August 2.

Email: ramona.ngin [at] proton.me