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in the Russian avant‐gardes and Latin American modern art. He has organized a number of exhibitions of Latin American abstraction, including Vibration (Bundeskunsthalle, Bonn) and Gebaute Vision (Haus Konstruktiv, Zurich). He is writing a book on the shift from abstract art to conceptualism in Latin America entitled Nation and Abstraction.

      Miguel A. López is a writer, researcher, and codirector and chief curator of TEOR/éTica in San José, Costa Rica. His work investigates collaborative dynamics, transformations in the understanding of and engagement with politics in Latin America, and feminist rearticulations of art and culture. His writings have appeared in periodicals such as Afterall, ramona, E‐flux Journal, Art in America, and Art Journal, among others. He was member of several art collectives, artist‐run spaces and art magazines since 2003. In 2014, he cofounded the independent art space and art journal Bisagra, in Lima, Peru. In 2016 he was recipient of the Independent Vision Curatorial Award from ICI – Independent Curators International, New York. His most recent book is Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Metales Pesados, 2017).

      Fabiola López‐Durán is Associate Professor of Art History at Rice University. She is the author of several articles and catalog essays, and Eugenics in the Garden: Transatlantic Architecture and the Crafting of Modernity (Texas, 2018).

Natalia Majluf is former director of the Museo de Arte de Lima. Her research has focused on issues of race and nationalism in nineteenth and twentieth‐century Latin American art. She has held the Getty Curatorial Research Fellowship, the John Simon Guggenheim Memorial Fellowship, as well as fellowships at the Center for Advanced Study in the Visual Arts in Washington, DC, and the University of Cambridge.

      Sérgio B. Martins is Professor in the History Department of Pontifícia Universidade Católica do Rio de Janeiro (PUC‐RJ), and author of Constructing an Avant‐Garde: Art in Brazil: 1949–1979 (MIT, 2013). His writings on modern and contemporary Brazilian art have appeared in journals such as October, Novos Estudos, Artforum and Third Text, and in numerous exhibition catalogs such as Hélio Oiticica: To Organize Delirium (Carnegie Museum, Whitney Museum and Art Institute of Chicago, 2017); Anna Maria Maiolino (MoCA, 2017); Lygia Clark: uma retrospectiva (Itaú Cultural, 2014); and Cildo Meireles (Reina Sofia and Serralves, 2013). His current research project reexamines 1960s and 1970s art in Northern Italy through the lenses of Antonio Dias's transnational trajectory.

      Cuauhtémoc Medina, who holds a PhD from the University of Essex, is Chief Curator of the Museo Universitario Arte Contemporáneo in Mexico City. His many curatorial projects include the Tate Modern's Latin American collection (2002–2008); Mexico's entry for the 53rd Venice Biennale (2009), Teresa Margolles's “What Else Could We Speak About?”; Manifesta 9 (2012); and the 12th Shanghai Biennale (2018). Since 1992, he also holds a research post at the National Autonomous University of Mexico (UNAM).

      Gerardo Mosquera is an independent curator, critic, and art historian based in Havana, Cuba. He was one of the organizers of the first Havana Biennial in 1984 and remained on the curatorial team until he resigned in 1989. Since then he has been organizing exhibitions and lecturing in over seventy countries. He was adjunct curator at the New Museum of Contemporary Art, New York (1995–2009), and since 1995 an advisor to the Rijksakademie van Beeldende Kusten in Amsterdam. He is the author of several books and more than 600 articles and essays.

      Chon A. Noriega is Professor in the UCLA Department of Film, Television, and Digital Media, Director of the UCLA Chicano Studies Research Center (CSRC), and adjunct curator at the Los Angeles County Museum of Art (LACMA). His publications include Shot in America: Television, the State, and the Rise of Chicano Cinema, forty book chapters and journal articles, and media policy reports, including a three‐part study of hate speech on talk radio that uses social and health science methodologies. He is coauthor of the exhibition catalogs Phantom Sightings: Art After the Chicano Movement and Home – So Different, So Appealing. Noriega's professional activities situate his research interests within a broader public framework. He is cofounder of the National Association of Latino Independent Producers (NALIP) and has served on boards for organizations focused on health disparities, support for public media, and a licensed shelter for unaccompanied immigrant and refugee minors.

Martín Oyata holds a PhD in Latin American literature (Cornell University) and a BA in philosophy (Pontificia Universidad Católica del Perú). He is the author of the forthcoming Un único pueblo: José María Arguedas y el concepto de lo andino. He lives in Chicago.

      Daniel Quiles is Associate Professor of Art History and Criticism at the School of the Art Institute of Chicago. His essays and articles have appeared in Caiana Journal, Artlas Bulletin, Art Margins, Artforum, ArtNexus, Art in America, and Americas Society Quarterly.

      Yasmin Ramírez is an independent curator and art historian based in New York, currently an adjunct professor of art history at The City College of New York. Dr. Ramírez was a consulting curator at El Museo del Barrio (1999–2001) and the curator of Taller Boricua (1996–1998). She has also collaborated on curatorial projects with The Loisaida Center, The Caribbean Culture Center, The Studio Museum in Harlem, Franklin Furnace, The Center for Puerto Rican Studies at Hunter College, NYU Department of Social and Cultural Analysis. Her articles have appeared in Art in America and ArtNexus. Her catalog essays include Parallel Lives, Striking Differences: Notes on Chicano and Puerto Rican Graphic Arts of the 1970s; Timeline of El Museo del Barrio; La Vida: The Life and Writings of Miguel Pinero in the Art of Martin Wong; and Nuyorican Visionary: Jorge Soto and the Evolution of an Afro‐Taíno Aesthetic at Taller Boricua.

      E. Carmen Ramos is the newly appointed Chief Curator and Conservation officer of the National Gallery of Art, Washington, DC. While at the Smithsonian American Art Museum (2010‐21) she has dramatically expanded SAAM's historic Latina/o art collection and organized the major traveling exhibition, Our America: The Latino Presence in American Art (2013), whose catalog received a 2014 co‐first prize Award for Excellence by the Association of Art Museum Curators. Currently she is writing a monograph about Freddy Rodríguez that is part of the A Ver: Revisioning Art History book series.

      Ana María Reyes (PhD, University of Chicago) is Associate Professor in Latin American art history at Boston University. She has published articles on cultural desarrollismo and the São Paulo Bienal, commemoration and the aestheticization of violence in contemporary Colombian art, and metaphoric burial as political intervention. She is a founding member of the Symbolic Reparations Research Project (SRRP), which studies the role of commemorative processes in transitional justice. Her book The Politics of Taste: Beatriz González and Cold War Aesthetics, was published by Duke University Press in 2019. She coedited with Maureen Shanahan Simón Bolívar: Travels and Transformations of a Cultural Icon, University Press of Florida (2016).

Terezita Romo is a lecturer and affiliate faculty in the Chicana/o Studies Department at the University of California, Davis. An art historian, she has published extensively on Chicana/o art and is the author of the artist monograph, Malaquias Montoya (A Ver series, Minnesota, 2011). She also served as the chief curator at the Mexican Museum in San Francisco, arts director at the National Museum of Mexican Art in Chicago, and more recently the Arts Project Coordinator at the UCLA Chicano Studies Research Center (CSRC). Romo was the curator of “Art Along the Hyphen: The Mexican‐American Generation,” one of four exhibitions in UCLA CSRC's “LA Xicano” collaborative project within the Getty Foundation's regional initiative, “Pacific Standard Time: Art in LA 1945–1980.”

      Stephanie Schwartz is a lecturer in the history of art at University College London. She is currently completing a book‐length study of Walker Evans's 1933 Cuba portfolio. Her study of documentary photography in the 1930s informs her ongoing research on contemporary Cuban art. Her writing on media and photography has appeared in ARTMargins, October,

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