Claire Valdez Wants to Be Your Artist in Congress

With a Democratic Socialist Muslim mayor and a historic NBA championship win after 53 years, New York’s next unexpected development might be the election of a congresswoman who began her career as an artist and art worker.

Claire Valdez, a New York State Assembly Member known for her union organizing, is campaigning for New York’s 7th Congressional District in the US House of Representatives. The district, also called the “Commie Corridor,” spans progressive neighborhoods in Queens and North Brooklyn, areas rich with artistic residents. This includes communities in Williamsburg, Greenpoint, Bushwick, Long Island City, and Ridgewood, where Valdez resides.

Born in Texas, the 36-year-old assemblywoman is a member of the Ysleta del Sur Pueblo. She studied painting and art history at the School of the Art Institute of Chicago. In 2015, she relocated to New York to pursue a career in art, supporting herself with jobs at Taco Bell, Trader Joe’s, and Pizza Hut. Her fortunes improved when she secured a position as a program assistant in Columbia University’s visual arts department. It was there she found her passion for organizing, joining UAW Local 2110 to fight for improved working conditions. In 2019, she became part of the Democratic Socialists of America (DSA) in New York City, alongside Zohran Mamdani. In 2024, she won her first political campaign, taking over the State Assembly seat in the 37th district, replacing a scandal-afflicted incumbent.

Valdez advocates for abolishing ICE, taxing the wealthy, universal healthcare, unions for all, rent control, and a free Palestine. Her campaign has been endorsed by Mayor Mamdani, Senator Bernie Sanders, Congressman Ro Khanna, and UAW President Shawn Fain. However, Congresswoman Alexandria Ocasio-Cortez, who supported Valdez’s 2024 Assembly campaign, remains hesitant. Recent polls indicate Valdez holds a narrow two-point lead over her main rival, Antonio Reynoso, the Brooklyn Borough President from South Williamsburg. Reynoso shares a similar progressive platform and has the support of major unions and some Working Families Party members. He is also endorsed by Congresswoman Nydia Velázquez, whose congressional seat both he and Valdez seek. To secure the Democratic primary on June 23, Valdez will need significant support from younger voters.

I interviewed Valdez at Ridgewood’s Sinkhole Gallery, owned by her friend, artist Dana Buhl. In the company of two artists from the exhibition Moving Through, we discussed her journey as a painter, her political beginnings, and her congressional ambitions, should she succeed. The conversation has been edited for brevity.

Hyperallergic: Why take on this challenge? 

Claire Valdez: The simplest answer is I was encouraged to do so.

In the spirit of great organizers, we encourage people to take on challenges that might be daunting, hoping they will embrace their power. Many from my union and the DSA urged me to consider this path.

We are in a dire crisis where corporate interests are oppressing workers, inflating rents, reducing wages, and consuming our time. I came to New York with artistic dreams, and our movement aims to ensure everyone can pursue their passions with sufficient time, fair wages, and healthcare. The current Democratic Party and the Trump administration do not offer this vision. We need leaders with this vision in Congress to drive change.

H: What prompted your move to New York in 2015 to pursue art professionally? 

CV: While making art in Chicago, I noticed many in my circle moving to LA or New York. I had always wanted to live in New York, so I seized the chance to find a creative community here. Initially, I transitioned from creating large paintings to smaller, book-sized ones in an eight-by-eight-foot room in Bed-Stuy.

H: Did space limitations affect your art? 

CV: The constraints were not just spatial but also temporal. Working as operations manager at SculptureCenter in Long Island City required nights and weekends, leaving little time for my art. I felt connected to art by supporting other artists, but lacked time to develop my own work or the community needed for art creation.

H: How did you come to work at Columbia University?

CV: It happened somewhat by chance. I was seeking a job with better work-life balance to focus more on art. Someone I knew from Chicago was leading the visual arts program there, and it worked out. Discovering the benefits of having a union was eye-opening. Being able to finish work at 5 o’clock without any further obligations was a first for me, and it was transformative. I wanted to organize so more people could experience this benefit.

H: Is this when your political organizing began?

CV: I was politically aware, especially influenced by the Iraq invasion. However, having a union showed me the power of collective action in improving my life. This realization spurred my political activism. I aimed to challenge Columbia, a major landlord in New York with a $14-billion endowment, especially regarding its treatment of faculty, staff, and students during protests.

H: How did you handle the challenges at Columbia?

CV: There remains a pervasive fear on campus of crossing the administration. Witnessing young people risking their futures to protest against genocide and Columbia’s involvement was inspiring. Their bravery highlighted the lack of courage from many politicians who have more resources and platforms but remain silent. I believe these students will be recognized for their courage in the future.

H: Did you always see yourself as a leader, or is this a new role?

CV: It’s a new development. I enjoy being part of a movement and organizing with others. The joy I found in art came from interacting with people, visiting studios, discussing art, and organizing exhibitions. This joy has transferred to organizing within this movement.

My focus was always on what role I could play—whether canvassing or organizing. When asked to run for office, it was another way to contribute to the movement by becoming the face of the campaign.

H: What was your experience growing up in Lubbock, Texas?

CV: I attended a racially segregated school and was often the only person of color in my classes. I was passionate about art, which wasn’t always popular, leading to an isolating experience. However, art helped me find a community, making friends and connecting with others who loved art and felt different.

H: What themes did your paintings explore?

CV: My work often depicted landscapes, particularly night skies and moons.

H: Were these influenced by your upbringing?

CV: Absolutely. I grew up with expansive skies, often going out with my parents to watch the moon or meteor showers. In New York, where the view is more restricted, I enjoy going to the beach to see the horizon.

H: How can you make New York more affordable for artists?

CV: Artists face the same challenges as everyone else: housing, healthcare, and time off. We aim to involve the federal government in creating deeply affordable housing and providing universal healthcare, unattached to employment or immigration status. Healthcare should be a human right, free at the point of service. I am passionate about ensuring every worker can organize, as many artists, often gig workers, are excluded from union benefits. Expanding union access is crucial to combat exploitation in the arts.

We can make life more affordable for artists through commercial rent stabilization and direct funding for artists.

H: Do you focus more on artists than most politicians?

CV: I believe so, having lived that experience. Many dear friends are artists, gallery workers, or art handlers in precarious jobs. Art is often seen as a luxury or investment rather than a representation of humanity. Artists deserve fair compensation, protection, and dignity.

H: If elected to Congress, how will you maintain your integrity?

CV: Being part of a movement ensures accountability. I didn’t enter this through personal ambition but to help unionize workers, secure housing, and achieve universal healthcare. These goals require collective action, not individual effort. Staying connected to the movements that support me will be crucial if I reach Congress.

H: What drives you to pursue these ambitious goals? Is it hope or something else?

CV: I rely on faith.

H: What kind of faith? Religious?

CV: Not religious. It’s faith in people, the working class, and our collective power.