A native of Boston, Edmund Cardoni graduated from the MA program in Creative Writing of CU Boulder in 1981, where he taught creative writing, co-edited the literary magazine, and organized his first reading series, featuring, among others, Allen Ginsberg. While still a Ph.D. candidate at SUNY Buffalo (where he co-edited another literary magazine), he joined the staff of Hallwalls as part-time literary programmer in 1984. In 1986, he attended his first national conference of the recently formed National Association of Artists’ Organizations (NAAO), hosted that year in Buffalo by Hallwalls and CEPA, both charter members of NAAO, and attended most subsequent conferences in various cities through the 2000 conference in Brooklyn. In late 1988 he became Hallwalls’ overall Program Director (P.D)—supervising a staff of five curators in visual arts, video, film, performance art, and music. In that capacity, he also administered the multidisciplinary “New Forms Regional Regrant Program” of the Rockefeller Foundation and NEA Inter-Arts Program for the region comprising Upstate NY, Eastern Ohio, Western Pennsylvania, and West Virginia, later serving on the statewide “Working Group” when the program was expanded to include the five boroughs of NYC. Retaining the duties of P.D. (as well as continuing to curate literature, then later—as staff was necessarily downsized due to cuts in and restructuring of public arts funding—performance, then film), he was named E.D. of Hallwalls in spring 1991. That summer he administered a WNY residency project for the San Diego-based Border Art Workshop with a major grant he had secured from The Ford Foundation, and has coordinated several other Hallwalls Artists in Residence Projects (HARP) residencies since (in addition to managing the grants for all of them), as well as art writing, guest curating, and adjunct teaching. He has served as a panelist for the Literature program of NYSCA (1987–1990), the Artist Fellowship program of NYFA (Fiction, 1992), the Capital Aid program of NYSCA (2000–2003), the Multidisciplinary program of the Massachusetts Cultural Council (2006), and on NYSCA’s statewide panel for Regional Economic Development Council (REDC) grants to arts organizations (2015–present). He led Hallwalls’ participation by invitation in both the Warhol Initiative and National Arts Administration Mentorship Program. In 2003, he—along with several other arts leaders (both fellow “elders” and young emerging leaders) from across the U.S.—was implored by the handful of remaining board members of the now moribund NAAO to join them in an attempt to resuscitate the still, in their opinion, much-needed organization, including winning back the trust of funders and the interest of the field. This quixotic effort ultimately failed on both counts, but, before NAAO’s final dissolution in 2009, it played one last critical role when it stepped in as fiscal sponsor of the Critical Art Ensemble Defense Fund, with Ed himself serving as its Buffalo-based treasurer as well as one of the Defense’s national advocates and spokespeople, raising legal fees that ultimately helped secure the dismissal of federal charges against artist and Steve Kurtz.