Cate McQuaid

Cate McQuaid: Chronicler of Art, Community, and Human Connection

Cate McQuaid has shaped Boston’s cultural narrative for over two decades as a lead art critic for The Boston Globe, blending incisive analysis with a deep empathy for the intersection of art and societal change. Her work, anchored in the visual arts, extends into explorations of identity, community, and the creative process itself, now amplified through her Substack publication, Ocean in a drop. McQuaid’s career reflects a commitment to elevating underrepresented voices and probing the emotional resonance of artistic expression.

Career Trajectory: From Institutional Critique to Intimate Storytelling

• Early Career & Institutional Focus (2000s): McQuaid established her voice reviewing gallery exhibitions and museum retrospectives, often highlighting how institutions contextualize art within broader cultural histories.
• Shift to Community Narratives (2010s): Her coverage expanded to grassroots art initiatives, such as “Book of Saints”, which documented Cambridge residents shaping their neighborhoods amid gentrification.
• Embodiment & Creativity (2020s): Recent Substack essays, like “Talk through the hands”, explore art as a somatic practice, reflecting her interest in how creation fosters personal and collective healing.

Key Articles & Impact

“These are the people in her neighborhood: Cambridge photographer documents changing city in ‘Book of Saints’”

This 2023 profile of photographer Lesley University professor Ruby Emack spotlighted her portraits of marginalized community members, from undocumented immigrants to Black Lives Matter activists. McQuaid framed Emack’s work as a counter-narrative to urban erasure, emphasizing how art preserves humanity in the face of systemic neglect. The article spurred local dialogues on public art funding and was cited in city council debates about preserving cultural spaces.

“Layers of Meaning in Momias de los Cóndores”

McQuaid’s 2022 review of Juan Barboza-Gubo and Andrew Mroczek’s exhibition analyzed their reinterpretation of Incan mummies as metaphors for LGBTQ+ persecution. She drew parallels between historical violence and contemporary hate crimes, noting how the artists’ mixed-media approach—blending photography, textiles, and ritual objects—invited viewers to confront buried traumas. The piece underscored her ability to situate visual art within sociopolitical contexts, influencing how regional museums approach queer narratives.

“Talk through the hands”

In this 2024 Substack essay, McQuaid meditated on the tactile nature of creativity, weaving personal anecdotes about movement therapy with broader critiques of disembodied digital culture. She argued that “making”—whether art, dance, or everyday gestures—reconnects individuals to innate wisdom often suppressed by modern life. The essay resonated with educators and therapists, sparking collaborations between Boston-area studios and mental health organizations.

Beat Analysis & Pitching Recommendations

1. Pitch Community-Driven Art Projects

McQuaid prioritizes stories where art fosters social cohesion, such as her coverage of Ruby Emack’s “Book of Saints”. Successful pitches should highlight artists working with marginalized groups or reclaiming public spaces. Avoid commercial gallery exhibitions unless they directly engage with equity issues.

2. Propose Intersections of Art & Wellness

Her Substack essays, like “Talk through the hands”, reveal a growing interest in art’s therapeutic role. Pitches could explore art therapy programs, somatic workshops, or creators addressing mental health through tactile mediums.

3. Focus on Underrepresented Histories

McQuaid’s review of “Momias de los Cóndores” exemplifies her advocacy for narratives suppressed by mainstream historiography. Pitches might include Indigenous artists revisiting ancestral practices or exhibits critiquing colonial legacies.

Awards and Achievements

Recognition for Cultural Reporting

While specific awards aren’t listed in public records, McQuaid’s tenure at The Boston Globe—a Pulitzer Prize-winning institution—positions her as a trusted voice in arts journalism. Her work is frequently cited in academic studies on community art and urban policy, reflecting its scholarly impact.