Grace Ndiritu is a British-Kenyan (Maasai Kikuyu), visual artist, filmmaker and writer whose artworks are concerned with the transformation of our contemporary world.

In her twenties she was taught art in Amsterdam by Hollywood film director Steve McQueen. In 2009 her art had entered into the Metropolitan Museum of Art collection in New York, gaining a place in Phaidon's The 21st Century Art Book. She was named one of the ten most important and influential artists under 40 by Apollo Magazine. She is the winner of the Jarman Award in association with Film London (2022).

In 2012 Ndiritu began creating a new body of works under the title Healing The Museum. It came out of a need to re-introduce non-rational methodologies such as shamanism to re-activate the 'sacredness' of art spaces. Ndiritu believes that most modern art institutions are out of sync with their audiences’ everyday experiences and the widespread socio-economical and political changes that have taken place globally in the recent decades, have further eroded the relationship between museums and their audiences. Museums are dying. Ndiritu sees shamanism as a way to re-activate the dying art space as a space for sharing, participation and ethics. From prehistoric to modern times the shaman was not only the group healer and facilitator of peace but also the creative; the artist.

Ndiritu is a recipient of the prestigious Paul Hamlyn Foundation - Visual Arts Award (2024). Her films and videos, textiles, photography, performances, paintings and architectural spaces have been widely exhibited, most recently, in her mid-career survey entitled Healing The Museum at SMAK, Ghent in 2023. Her work has been featured in Artforum, Art Review, The Guardian, TIME Magazine, The Financial Times, Forbes and Art Monthly.

Her work is also housed in museum collections such as The Metropolitan Museum of Art (New York), LACMA (Los Angeles), Migros Museum of Contemporary Art (Zurich), Foto Museum (Antwerp), The British Council, The Museum of Modern Art (Warsaw) and Arts Council England. As well as private collections such as the King Mohammed VI, Morocco and Walther Collection, New York and Germany.

Her writing has been published by TATE, Migros Museum, Bergen Kunsthall, Whitechapel Gallery: Documents of Contemporary Art, The Paris Review, Le Journal Laboratoires d'Aubervilliers, Animal Shelter Journal Semiotext(e) MIT Press, Metropolis M art magazine and Oxford University Pres&