Curating Connection: How Karen Levitov Transforms the Zuccaire Gallery into a Living Classroom

At the heart of Stony Brook University’s arts community in the Staller Center for the Arts, the Paul W. Zuccaire Gallery offers more than exhibitions; it is a living classroom, a space for dialogue, and a catalyst for cultural research. Since 2014, Director and Curator Karen Levitov has guided the gallery’s vision, combining creative innovation with a deep commitment to education and social relevance.

Levitov’s path to Stony Brook began in museum settings that shaped her philosophy of “curatorial activism.” She credits early mentors for inspiring her belief that curating can itself be a form of advocacy. “Curating is about more than selecting and arranging works in a space,” she said. “There are years of research and collaboration that go into it. Curating can shape ideas, bring different artists’ work to light, and help define the narrative we share with audiences.”

Research as the Foundation of Curation

Research, for Levitov, lies at the core of curatorial practice. Each exhibition, whether historical or contemporary, begins with a rigorous investigative process that may take years. “Most people don’t realize that exhibitions take years to plan,” she explained. “Even shorter projects can involve two or three years of research, writing, and collaboration before a single artwork is installed.”

That research often bridges art history, technology, and community storytelling. In Revisiting 5+1 (2022–2023), Levitov directed a team of PhD-candidate curators, alongside Thaw Professor Katy Siegel and Distinguished Professor Howardena Pindell, to explore a groundbreaking 1969 Stony Brook exhibition that featured 13 Black abstract artists. The project required archival reconstruction and collaboration with institutions like the Museum of Fine Arts in Boston and the Frank Bowling Studio and Archive, as well as Stony Brook University Archives. The resulting show honored both the original exhibition and the women artists of the same era who had been overlooked.

“The research for Revisiting 5+1 helped us uncover forgotten histories,” Levitov reflected. “It revealed how a university gallery can play a vital role in preserving and retelling stories that might otherwise disappear.”

More recently, Levitov oversaw Weaving Words, Weaving Worlds (2025), curated by Shinnecock artist Jeremy Dennis, which examined the relationship between Indigenous language and contemporary art. The exhibition connected with Stony Brook’s Algonquian Language Revitalization Project and Native American and Indigenous Studies minor, embedding curatorial work within ongoing research and community initiatives. “A core part of lived history and experience is language,” Levitov wrote in her foreword. “This exhibition affirms Indigenous sovereignty, history, and experience through art and collaboration.”

The Gallery as a Site for Learning and Collaboration

As a university gallery, Levitov views education as inseparable from curation. “Our educational mission is crucial,” she said. “We collaborate with faculty across departments — from anthropology to creative writing to social work — to craft tours and programs that connect their courses to the art on view.” These partnerships often lead to customized learning experiences and discussions that help students connect artistic practice with research, social issues, and their own academic disciplines.

Levitov also teaches a Gallery Management Workshop, where she introduces students to the practical realities of curating. “I want them to understand that what they see on the walls is just the tip of the iceberg,” she said. “Behind it are years of research, problem-solving, and collaboration. I think of it as creative problem solving; it’s about taking an idea and figuring out how to bring it to life.”

Curatorial Vision and Social Engagement

Throughout her tenure, Levitov has been guided by a belief that the gallery should serve as both a cultural forum and a bridge between campus and community. “I love it when the general public and the campus community come together,” she said. “It’s not just about art appreciation; it’s about shared experience.”

Her exhibitions frequently engage themes of equity, identity, and dialogue. Projects such as Dos Mundos: (Re)Constructing Narratives and Iconicity have explored cultural storytelling and visual representation, while Revisiting 5+1 and Weaving Words, Weaving Worlds extended those conversations through archival scholarship and cross-disciplinary collaboration. Each reflects her philosophy that challenging art, when thoughtfully contextualized, can deepen understanding. “When people know something about the artwork and the artist, things that might seem challenging or controversial take on meaning,” she said. “They become learning tools and pathways to understanding.”

Looking Ahead

For Levitov, the future of the Zuccaire Gallery lies in deepening its role as a research and teaching hub for visual culture. She envisions continued partnerships that integrate art with fields like technology, ecology, language studies and social justice. “I think university galleries have a unique freedom,” she said. “We can take risks, explore complex ideas, and work collaboratively with faculty, students, and artists to expand the boundaries of what an exhibition can be.”

Through that approach, the Zuccaire Gallery continues to distinguish itself as a place where art, research, and public engagement converge, a testament to the creative leadership and scholarly rigor that Levitov brings to every project.

To learn more, visit ZuccaireGallery.stonybrook.edu.