Anaïs Lepage is a curator, writer and art historian based between Mexico and France. Her research explores the intersections of art, affects, and literature; emotional, mystical and ancestral practices; feminist and queer histories and methodologies; the politics of decorative art and the artifice of nature. She is particularly drawn to time-based, performative, and discursive formats with multidisciplinary and relational dimensions. Through encounters and friendships, she has developed a deep interest in the art scenes of the Americas and the Caribbean, the Nordic countries, Mexico, Spain, and France.

Since 2023, she has been the Director of the Institutional Program & Conversations at Material and Salón Acmé (Mexico City). In 2024–2025, she served as Head of Public Programs at 49 Nord 6 Est – Frac Lorraine (Metz) and Guest Curator for Moving Image and Performance at Casa del Lago UNAM. Previously, she held curatorial positions at the Louis Vuitton Foundation, the Museum of Modern Art of Paris (MAM), and the Museum of Contemporary Art (MoCA) in Chengdu, and taught Curatorial Studies at Paris 1 Panthéon-Sorbonne University. She has collaborated with artists such as Julien Creuzet, Rachel Rose, Madison Bycroft, and Daniel Otero Torres.

Recent projects include Una obsesión por las flores, a group show staging a dialogue between Marcel Proust, Mario Bellatin and 17 artists, as part of the Bicentennial of relations between France and Mexico (LagoAlgo); Kris Lemsalu’s performance The Snail Pace (Frac Lorraine); the symposium Affective Constellations at the Museo Tamayo and the talks program Trust Issues (Material & Salón Acmé); the exhibition Annlee: No Ghost Just a Shell by Pierre Huyghe, Dominique Gonzalez-Foerster, and Philippe Parreno, with the Museum of Modern Art of Paris; and Ulrik López’s performance Pataki 1921 as part of the Festival Poesía en Voz Alta (Casa del Lago UNAM). She writes and lectures regularly, with contributions to Mousse Publishing and the Festival of Art History in Fontainebleau, among others.