Kwasi Ohene-Ayeh academically trained as an artist and now practices as a curator, and critic based in Kumasi, Ghana. He espouses  blaxTARLINES KUMASI’s politically indifferent approach to twenty-first century emancipatory art practice — which operates on a conception of art paradoxically emerging from a multiplicity and a void, and principled on preemptive equality. Ohene-Ayeh recognizes writing and curating as necessary extra-artistic roles that enable him to critically respond to concerns related to the Ghanaian art scene in conversation with global matters. He is a member of the Exit Frame Collective (with Adwoa Amoah, Ato Annan, Bernard Akoi-Jackson, and Kelvin Haizel) who are, besides artistic and curatorial projects, intervening in the intellectual infrastructure of professional art practice in Ghana by initiating the annual 12-day peer-to-peer intensive professional development program, ‘CritLab’, in partnership with Foundation for Contemporary Art – Ghana. The programme is designed for artists, critics and curators. Ohene-Ayeh is co-curator of Akutia: Blindfolding the Sun and the Poetics of Peace (A Retrospective of Agyeman Ossei ‘Dota’) in Tamale, Ghana (2020-2021), co-curator of the 12th edition of Bamako Encounters: Biennale of African Photography in Mali (2019-2020), and curator of ‘Spectacles. Speculations…’ (2018) in Kumasi. He has also co-curated ‘Silence Between the Lines: Anagrams of Emancipated Futures’ (2015) and ‘Orderly Disorderly’ (2017)— both exhibitions organized by blaxTARLINES KUMASI. He was a member of the faculty of the inaugural Lagos Biennial Curatorial Intensive Programme, held during the 2019 Lagos Biennial, and the Independent Curators International (ICI) Curatorial Intensive in Accra (2017). Ohene-Ayeh is presently a doctoral student at KNUST in Ghana.