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

She is currently the curatorial assistant at the MIT List Visual Arts Center. Her most recent exhibition there is Performing Conditions: Artistic Labor and Dependency as Form (co-curated with Natalie Bell). She is also an art editor at n+1 in Brooklyn and a contributing editor at Boston Art Review.

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. She has previously 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 delivered readings and talks at 99 Canal, New York (with JUF Project); Wedding Cake House, Providence; and Vašulka Kitchen Brno, Czechia. She was part of the inaugural curator-in-residence cohort with ODD-KIN/Dirt Palace Public Projects in 2025 and a 2024–25 Critical Writing Fellow at Momus.

She holds a degree in Modern Culture and Media from Brown University.

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.

Email: info@ramona.me