Our mission is to highlight the contributions of women photographers to modern and contemporary art in order to rewrite the artistic canon and provoke social change. Women Photographers International Archive (WOPHA) began as a dynamic database showcasing the unique stories of women-identified Cuban photographers. Building on this success, WOPHA has expanded its geographic scope while retaining its core commitment to promote and research, in partnership with other organizations, the plurality of female, trans, queer, and other non-binary voices in photography.


Women Photographers International Archive (WOPHA) is a 501(c)(3) nonprofit organization founded by art curator Aldeide Delgado and artist Francisco Maso to research, promote, support, and educate on the role of women and those identified as women or non-binary in photography. The archive’s origins trace back to 2013 when Delgado created the project Catalog of Cuban Women Photographers.

The Catalog of Cuban Women Photographers is the first project to comprehensively collate the works of Cuban women photographers spanning the 19th century through the present. The Catalog, imbued with a distinct historiographic and critical character, is an interactive online platform that offers information for artists, curators, critics, and other cultural agents through a dynamic database of creators, publications, and exhibitions. As the primary aim of the Catalog is to locate, document, and acknowledge gaps in information on the contributors to the development of Cuban photography, WOPHA intentionally expands these efforts to an international scale, creating a space to celebrate women in the photographic arts.

WOPHA encourages the exhibition, collection, and active scholarship of works by women photographers, empowering art historians and art curators to share them more frequently with the public. Our activities include the digitization of historical archives, the creation of a center of information and specialized library of books about women photographers, the publication of catalogs and books, the presentation of lectures and workshops, the establishment of artist residencies and fellowships, and the development of online and physical exhibitions. We have a strong focus on historical research- producing rigorous academic content with particular emphasis on the diverse artistic production of Latin American and Latinx communities, including photographers from Mexico, Central and South America, the Caribbean, and artists of Latin American descent living and working in the United States.

*We embrace the term women as a political subject who recognizes that there are different ways to be a woman according to class, race, sexual orientation, age, religion, creed, ability and gender. It is inclusive of all cis and trans women in addition to any person who identifies as woman.



Founder & Director



Aldeide Delgado is the founder and director of Women Photographers International Archive (WOPHA). She has a background in advising and presenting at art history forums based on photography including, lectures at the Tate Modern, Perez Art Museum Miami, The New School, and California Institute of the Arts. Delgado is a recent recipient of a 2019 Knight Arts Challenge, 2018 School of Art Criticism Fellowship, and a 2017 Research and Production of Critic Essay Fellowship. She is the author of the online archive Catalog of Cuban Women Photographers, as well as the namesake ongoing book. Publications, where she has contributed, include Cuban Art News, Artishock, Terremoto, C&America Latina, Arcadia, as well as diverse independent art blogs. She writes for Artishock, Terremoto, ArtNexus, and C&America Latina. She is an active member of PAMM’s International Women’s Committee, IKT International Association of Curators of Contemporary Art, US Latinx Art Forum and Art Table.


Founder & Creative Director



Francisco Maso is the cofounder and creative director of Women Photographers International Archive (WOPHA). Two-time Cintas Foundation Fellowship finalist, he holds a Bachelor’s degree in Stage Design from the Instituto Superior de Arte and is a graduate of both the Behavior Art School and the San Alejandro Academy of Fine Arts. Maso developed the visual identity and website of Catalog of Cuban Women Photographers. He is the author of the book Post PostProduction Project (2012-2015), that explored the audiovisual piracy phenomenon and its social implications; and the ongoing book The History of Obtusism. Recent exhibitions include Time for Change: Art and Social Unrest in the Jorge M. Pérez Collection at El Espacio 23 (2019), Cintas Foundation Fellowships Finalist Exhibition 2019-2020 at Lowe Art Museum (2019), and 10 - A Decade at Dimensions Variable (2019). His works are part of Jorge M. Pérez Collection, Brillembourg Capriles Collection, and Nina Fuentes Collection.


Project Manager



Kim Yantis is a visual artist, cultural programs advisor and grant writer supporting the creative community. Yantis, originally from Philadelphia, Pennsylvania, holds an MFA from Florida International University and a BFA from Moore College of Art and Design for Women. Based in Miami, Florida for twenty years, she continues to evade cold climates while collaborating with multidisciplinary artists and by designing sustainable garments and costumes. Her museum and community-based work experience includes curating contemporary and historic exhibitions and seasonal plans for the arts. Operating as Kim Yantis Arts, she advises organizations and individuals on programs and strategies. Her artworks are held in the collections of the Frost Museum of Art, The Girls Club of Fort Lauderdale, Florida Art Collection/ Francie Bishop Good and David Horvitz, and the Jaffe Center for Book Arts at FAU in Boca Raton, Florida.


Curator of Programming



Amy Rosenblum-Martín is an independent curator of contemporary art and a Guggenheim Educator with expertise in Latinx art. Her exhibitions include "Ana Mendieta: Thinking about Children's Thinking" at Sugar Hill Children's Museum, a 2018 Artforum Critic's Pick discussed at the New Museum during the recent Emily Hall Tremaine Exhibition Award 20th Anniversary Curatorial Symposium. She curated U.S. museum solo debuts by Consuelo Castañeda, Dara Friedman, Adler Guerrier, Quisqueya Henríquez, Marisa Morán Jahn, and Javier Tellez. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) then at The Bronx Museum, she has also worked for MoMA, The Met, the MCA Chicago, the Hirshhorn, Reina Sofía, MACBA in Barcelona, London's National Portrait Gallery, and Kunsthaus Bregenz in Austria as well as MIT, NYU, The New School, Peking University, and Colección Patricia Phelps de Cisneros. She studied at Oberlin College, Universidad de Buenos Aires, and Columbia University.


Community Coordinator



Amanda Bradley is an artist and arts administrator based in Miami, Florida. Bradley received her BFA from New World School of the Arts in Photography. In Miami, she has worked with institutions like Bakehouse Art Complex, Pérez Art Museum Miami (PAMM), and the Museum of Contemporary Art in North Miami. Her work has been exhibited in Further than Memory, Intimate Distances at ArtMedia Gallery; Notices in a Mutable Terrain at Fundacion Pablo Atchugarry; It will never become quite familiar to you at Oolite Arts, RCS: 76-100 at Swampspace Gallery; The Passing of Time at the Alfred DuPont Building; american fine arts, an allegory for americas at Art Movement LA, California and Current Projects in Little Haiti, Florida; and In This Moment at PH21 Gallery in Budapest, Hungary; amongst others.





Francis Oliver is a Latinx cultural researcher, editor, and proofreader based in Athens, Georgia. Originally from Miami, Francis studied Biology and Environmental Science and Policy at the University of Miami and worked in various capacities at the radio station WVUM and the university library. She worked for six years in collections management, archival research, oral histories, curatorial assistance, and artist residency supervision at the Deering Estate museum and ecological field station. She is interested in the intersections of public history, archives, cultural geography, political ecology, diaspora studies, and contemporary art.





Rocío Cárdenas is a curator, art critic, and independent researcher. Cárdenas has a PhD in Social Sciences and Humanities from the Metropolitan Autonomous University in Mexico (2013-2016) and was awarded the University Merit Medal in 2017. Her interests include memory, archives, and political, gender-oriented, and artistic practices. She has collaborated with multiple educational institutions, among them the National University of Mexico, the Faculty of Law, Political, and Social Sciences of the National University of Colombia (Bogotá), the Institute of Fine Arts of Santiago de Cali, Colombia, and the Autonomous University of Nuevo León (Monterrey, Mexico). As an art critic, Cárdenas has written for various publications including Artishock, ArtNexus, Letras libres, Velocidad Critica, and Armas y Letras. In 2011, CONARTE and the Autonomous University of Nuevo León published her book El arte contemporáneo revisitado en Monterrey: los mensajes del presente y del futuro llegan demasiado tarde (Contemporary Art Revisited in Monterrey: Present and Future Messages Arrive Too Late).





Patricia Gouvêa is a visual artist and researcher focused on still photography, moving photography, and the notion of time. She received a Bachelor’s degree from the School of Communications of the Universidade Federal do Rio de Janeiro (ECO/UFRJ), a Specialist degree in Photography and Social Sciences at the Universidade Candido Mendes (UCAM/RJ), and a Master’s degree of Communication and Culture in the Communication Technologies and Image Aesthetics track at the Universidade Federal do Rio de Janeiro (ECO/UFRJ). She has published the books Membranas de Luz: os tempos na imagem contemporânea and Imagens Posteriores, Banco de Tempo (in partnership with artist Isabel Löfgren) and Mãe Preta (in partnership with artist Isabel Löfgren), and contributed to many others. Gouvêa was one of the founders of Agência Foto In Cena (1995-1998) and of Ateliê da Imagem (1999-2019), independent cultural spaces that trained two generations of photographers and stood out as a center for research, teaching, and image promotion in Rio de Janeiro.