Christina Hughes was born and raised in Orange County’s Little Saigon neighborhood in Southern California. Part of the Sociology and Urban Studies faculty at Macalester College, her academic work examines the entwined social histories of Southern California and Southeast Asia as interrelated sites of militarism and policing. Her work brings together writing in postcolonial theory, critical refugee studies, critical prison studies, and racial capitalism to trace the colonial continuities and carceral afterlives of the wars in Southeast Asia as they have come to shape our current ‘crimmigration’ state and orientation towards who is considered deportable. Christina’s piece for REHOMING draws upon her memory of experiencing parental incarceration, where in her attempt to learn how to crochet from her mom takes up crochet itself as a feminist methodology to think through how to build alternative infrastructures of community care.

N. Bui works in practices of audio, storytelling, and documentation. They were born in Vietnam and grew up in St. Paul. They are interested in exploring the mundane and the organic. Their piece for the exhibit looks at rau muong (water spinach) as a noxious weed and the politics of livability that determine what is native vs invasive.

Ly T Nguyen (she/they) is a bilingual queer scholar, translator, and artist. Their creative and academic work gear towards feminist practices and imaginations of collective liberation. Ly’s most recent writings are with tiếng-thét and vănguard. Ly currently teaches in the Critical Race and Ethnicity Studies department at Augsburg University. Their academic work thinks through the relationships between culture, language, queer dis/inheritance, refugee epistemologies, transnational activism, and intergenerational trauma in projects like Little Saigon Stories (San Diego, 2017-2019) and Alphabet for Social Justice Project (Minneapolis, 2021). Most recently, Ly co-founded Viet Artists for Palestine to educate and fundraise for displaced Gazans. For REHOMING, Ly’s installation explores feminine forms of forgetting and maternal worship.

Quyên N-L (Nguyễn-Lê) is a queer Vietnamese filmmaker born to boat refugee parents where Chumash and Tongva lands meet in Los Ángeles, California. Quyên's film work–spanning between documentary and scripted genres–focuses on the ways histories are deeply felt in the quotidian everyday. Nước (Water/Homeland) (2016) and Hoài (Ongoing, Memory) (2018) delve into the intersections of queer Vietnamese American identity. The two films are experimental explorations of the fragmented multilingual act of generational storytelling–and the psychic toll of its absence. Drawn from their 2022 film described as “a eulogy to the their mother's nail salon that permanently closed during the COVID pandemic,” In Living Memory of Nước (Water/Homeland) invites viewers into a space fragmented across memory and imagination, with the installation centering the refugee nail salon as a site connecting different but continuous histories.

Nhung Walsh is a Chicago-based artist and curator from Hanoi, Vietnam who explores the intersection of personal history and collective memory through her work. Her practice, informed by Vietnam's postwar narratives and the politics of war memory, blends art and curation in long-term, interactive exhibitions. Notable projects include Nối Projects (since 2012), Saigon Blueprint (since 2015), and the Vietnam Artists' Book Project (since 2012). She has also contributed to the Thailand Biennale (2018) and SIGGRAPH ASIA (2015-2020). Motherhood has shifted her focus to childhood and parent-child relationships, expressed through sound, photography, and painting. Her piece for REHOMING edits together the silences from an interview recording from a My Lai massacre survivor, challenging listeners to hear these "interstitial spaces" as challenging the fixity of history and opening alternatives for considering what else might have occurred that day.