James Voorhies is an independent curator and writer based in the Hudson Valley. He brings extensive experience in curating, publishing, strategic planning, and fundraising in the visual arts, having worked with internationally renowned museums, academic institutions, and nonprofit organizations. His practice centers on organizing exhibitions and overseeing commissions, alongside an editorial focus that includes catalogue raisonnés, artist monographs, exhibition catalogues, and authored books.

He is the founder of Spritz3000, a curatorial studio based at Foreland, a contemporary arts complex in Catskill, New York. Launching in October 2025, Spritz3000 will support artists through seasonal exhibitions and programs, with the aim of placing their work with collectors. The initiative emphasizes interpretive formats such as talks, readings, writing, and guided excursions.

James also serves as Curator at Large at The Bass in Miami Beach, where he organizes two large-scale exhibitions and commissions each year.

Before establishing his independent practice, James served as Executive Director of the Tony Smith Foundation, where he led research and public programs that recontextualized the legacy of the modernist artist in conversation with contemporary art and design. He also edited the Tony Smith Catalogue Raisonné, published by The MIT Press in 2025.

Earlier in his career, he held academic leadership roles at the California College of the Arts (2016–2021) and served as the John R. and Barbara Robinson Family Director of the Carpenter Center for the Visual Arts at Harvard University (2013–2016). At Harvard, he organized over 70 exhibitions and public programs and taught in both the Department of Art, Film, and Visual Studies and the Graduate School of Design. From 2010 to 2013, he taught art history and critical theory at Bennington College, and from 2006 to 2011, he was Director of Exhibitions at the Columbus College of Art and Design.

James holds a PhD in Modern and Contemporary Art History from the Ohio State University. He is the author of Postsensual Aesthetics: On the Logic of the Curatorial and Beyond Objecthood: The Exhibition as a Critical Form since 1968, both published by The MIT Press.