Luis Camnitzer is a Uruguayan artist and the author of New Art of Cuba (1994) and, more recently, One Number Is Worth One Word (2020). He co-organized the exhibition Global Conceptualism: Points of Origin 1950s–1980s, with Jane Farver and Rachel Weiss, at the Queens Museum in New York in 1999. The Reina Sofía Museum in Madrid exhibited a retrospective of his work in 2018–19.
Irmgard Emmelhainz is a writer and researcher based in Mexico City. Her work on film, the Palestine Question, art, culture, and neoliberalism has been translated into many languages, and she has presented it in an array of international settings. Recent publications include The Sky Is Incomplete: Travel Chronicles in Palestine (2017) and Jean-Luc Godard's Political Filmmaking (2019).
Raino Isto is currently a fellow at the Educational Video Center in New York City and is editor-in-chief of ARTMargins Online. His practice focuses on integrating social justice with arts education for youth in both urban and rural contexts. His work has been published in Third Text, Science Fiction Studies, Extrapolation, International Labor and Working-Class History, and The Getty Research Journal.
Karolina Majewska-Güde teaches in the Department of Art History at the Catholic Private University Linz. She is the author of Ewa Partum's Artistic Practice: An Atlas of Continuity in Different Locations (2020). She recently curated two exhibitions—Ewa Partum: My Gallery Is an Idea. Galeria Adres Archive, in collaboration with Berenika Partum, at Galeria Studio in Warsaw (2018), and Irena Lagator: For the Common Good (2019), at KU Linz.
Mohammadreza Mirzaei is a PhD candidate in the Department of the History of Art and Architecture at the University of California, Santa Barbara. Mirzaei's articles have appeared in such journals as Herfeh: Honarmand, Kaarnamaa, and Tandis. He is a coeditor of issue 51 of Herfeh: Honarmand, devoted to Italian photography, and the translator of Stefano Benni's Grammatica di Dio from Italian into Persian (2014).
Bruno Moreschi is a postdoctoral fellow at the University of São Paulo and a multidisciplinary artist with a PhD in Arts at the State University of Campinas. Christopher Bratton is a professor in the School of Art, Design, and Architecture at Aalto University (Finland) and a cofounder of the Center for Arts, Design and Social Research (CAD+SR). Dalida Maria Benfield is an artist, film-maker, writer, and researcher. She is the research and program director of the CAD+SR. Gabriel Pereira is a PhD Fellow at Aarhus University (Denmark), where he uses creative methods to blend science and tech nology research with artistic practice. Guilherme Falcão is an art director working with and researching print and digital media. He has a BA in Graphic Design from Senac University Center (Brazil) and studied art history and curating at the Pontifical Catholic University of São Paulo. Brought together through the Center for Arts, Design and Social Research, these artists are collaborating on the Global _rt Stories project, a rewriting of normative of art history, its ideologies and erasures.
Catherine Spencer teaches in the School of Art History at the University of St Andrews. She is the author of Beyond the Happening: Performance Art and the Politics of Communication (2020) and the coeditor, with Jo Applin and Amy Tobin, of London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960–1980 (2018).
Rachel Weiss is a writer and curator. She is the author of Now What? Quandaries of Art and the Radical Past (2021) and To and from Utopia in the New Cuban Art (2011) and co-author and editor of Por América: La Obra de Juan Francisco Elso (2000) and Making Art Global (Part 1): The Third Havana Biennial (2011). She edited the 2010 book On Art, Artists, Latin America and Other Utopias by Luis Camnitzer.