Nato Thompson is Chief Curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Tania Bruguera’s Immigrant Movement International, Democracy in America: The National Campaign, and Waiting for Godot, a project by Paul Chan held in New Orleans. Thompson was formerly a curator at MASS MoCA, and he also curated ICI’s Experimental Geography, which traveled to eight venues in North America.

RoseLee Goldberg’s seminal study, Performance Art: From Futurism to the Present (first published in 1979 and now in its third edition) is regarded as the leading text for understanding the development of the genre and has been translated into more than ten languages, including Chinese, Croatian, French, Japanese, Korean, Portuguese, and Spanish. When director of the Royal College of Art (RCA) Gallery in London, Goldberg established a program that pioneered an integrative approach to curating exhibitions, performance, and symposia, directly involving the various departments of the RCA in all aspects of the exhibitions program. As curator at The Kitchen in New York she continued to advocate for multi-disciplinary practices to have equal prominence by establishing the exhibition space, a video viewing room, and a performance series. Most recently, her vision in the creation of Performa has set a precedent for performance art that is now impacting museum programming and diverse audiences across the U.S. and abroad.

Constance Lewallen lives and works in San Francisco, California, where she is adjunct curator at the University of California Berkeley Art Museum and Pacific Film Archive. As senior curator there from 1998 to 2007, she curated many national and international traveling exhibitions, including Joe Brainard (2001); Dream of the Audience: Theresa Hak Kyung Cha (2001); Everything Matters: Paul Kos, a Retrospective (2003); Ant Farm 1968–1978 (2004, co-curated with Steve Seid); and A Rose Has No Teeth: Bruce Nauman in the 1960s (2007). In 2009 she organized Allen Ruppersberg: You and Me or the Art of Give and Take at the Santa Monica Museum; and she co-curated State of Mind: New California Art ca. 1970, with Karen Moss of the Orange County Museum, which opened in 2011. Lewallen has written many essays and articles, and also edited the book Exileé and Temps Morts: Selected Works by Theresa Hak Kyung Cha (2009).

Karen Moss is adjunct curator at Orange County Museum of Art, where she has curated exhibitions including 15 Minutes of Fame: Photographs from Ansel Adams to Andy Warhol (2010); Disorderly Conduct Recent Art in Tumultuous Times (2009) and Art Since the 1960s: California Experiments (2007-2008) and co-curated the 2006 California Biennial. Moss previously held curatorial positions at the San Francisco Art institute, Walker Art Center, Santa Monica Museum of Art and the Museum of Contemporary Art, Los Angeles. Moss teaches art history and curatorial practice in graduate programs at Otis College of Art and Design and USC Roski School of Fine Arts.

Lawrence Rinder is Director of the UC Berkeley Art Museum and Pacific Film Archive, having previously held the position of Dean of the California College of the Arts and been the contemporary art curator at the Whitney Museum of American Art. He is also a writer of art criticism, poetry, drama and fiction.

Honored for his long-term, passionate commitment to supporting artists throughout their careers, for his prolific curatorial and writing career, and for his insight which he shares through his research, exhibitions, writings, and pioneering work at White Columns.

Born in the U.K., Higgs trained and worked as an artist before also becoming known for his independent publishing and curatorial projects that raised the profile of emerging artists through the 1990s. In 2001 he relocated to the U.S., to San Francisco, where he became curator of the Wattis Institute for Contemporary Arts at the California College of the Arts, and later the co-chair of the College’s MFA program. He now lives and works in New York where for the last six years he has been director of the non-profit art space, White Columns.

For nearly 20 years, Higgs has shown consistent ways to supports artists, artist-groups, and curators, through his writing, interviews, curating, and teaching, as well as his reinvention and on-going development of White Columns as a space for people to experiment with the presentation of new ideas and work. Since 1992 he has organized over 200 artists projects and exhibitions, and written for more than 50 publications and art magazines. He is tirelessly making studio visits and proposing projects with new and overlooked artists, including consistently championing a group of developmentally disabled artists from the non-profit organization Creative Growth by writing on their work and including it in many exhibitions.

Stephen Vitiello is a sound and media artist, whose sound installations have been presented internationally both in public spaces and museums. Most recent examples include A Bell For Every Minute, a site-specific project commissioned by Creative Time for the High Line in New York (2010); Tall Grasses, a solo exhibtion at the Salina Art Center, Salina, Kansas (2010); and All Those Vanished Engines at MASS MoCA. Vitiello has collaborated extensively, working with such artists as Tony Oursler, Julie Mehretu, Joan Jonas, Steve Roden, Nam June Paik and Scanner. His work is the subject of a 27-minute documentary produced by Australian TV. Vitiello has received numerous awards including a Guggenheim Fellowship for Fine Arts, Creative Capital funding in the category of Emerging Fields, and an Alpert/Ucross Award for Music. Originally from New York, Vitiello is now based in Richmond, VA where he is on the faculty of Kinetic Imaging at Virginia Commonwealth University.

Peter Dykhuis is director and curator of the Dalhousie Art Gallery in Halifax, Nova Scotia. Prior to that he was director of the Anna Leonowens Gallery at the Nova Scotia College of Art and Design, and a guest curator for the Art Gallery of Nova Scotia. His most recent exhibition is Giving Notice: Words on Walls.

David Platzker is the director of Specific Object, an innovative gallery, bookshop, and storehouse for a range of items from artist’s multiples to unique works of literature, music, and sound. Prior to founding Specific Object, Platzker was the executive director of Printed Matter, a non-profit institution dedicated to the promotion of artists’ publications from 1998 to 2004, and he has curated exhibitions of artists including John Baldessari, Marcel Duchamp, Ed Ruscha, and Claes Oldenburg.

Nato Thompson is Chief Curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Tania Bruguera’s Immigrant Movement International, Democracy in America: The National Campaign, and Waiting for Godot, a project by Paul Chan held in New Orleans. Thompson was formerly a curator at MASS MoCA, and he also curated ICI’s Experimental Geography, which traveled to eight venues in North America.

Sara Krajewski is curator at the Henry Art Gallery. She organized the group exhibitions The Violet Hour (2008) and Viewfinder (2007) as well as solo projects with artists Matthew Buckingham, Walid Raad, Liz Magor, Steven Roden, Kelly Mark, and Santiago Cucullu. Her writing has appeared in Art on Paper, ArtUS, and other publications. Krajewski has held curatorial positions at the Madison Museum of Contemporary Art and the Harvard Art Museum.

David Platzker is the director of Specific Object, an innovative gallery, bookshop, and storehouse for a range of items from artist’s multiples to unique works of literature, music, and sound. Prior to founding Specific Object, Platzker was the executive director of Printed Matter, a non-profit institution dedicated to the promotion of artists’ publications from 1998 to 2004, and he has curated exhibitions of artists including John Baldessari, Marcel Duchamp, Ed Ruscha, and Claes Oldenburg.

Claire Gilman (Ph.D. Columbia University) is Curator at The Drawing Center, New York. Gilman has taught art history and critical theory at Columbia University; The Center for Curatorial Studies, Bard College; The Corcoran College for Art and Design; and MoMA. She has also written extensively for publications including Art Journal, CAA Reviews, Documents, Frieze, and October.

Margaret Sundell (Ph.D., Columbia University) is consulting director of the Creative Capital | Warhol Foundation Arts Writers Grant Program. A former art editor at Time Out New York, her writing has also appeared in Artforum, Art Journal, and Documents. Sundell has taught art history and critical theory at Columbia University, the Whitney Museum of American Art, and Parsons The New School for Design.

Jens Hoffmann is Director of the CCA Wattis Institute for Contemporary Arts, San Francisco. He has curated over three-dozen exhibitions since the late 1990s. He was Director of Exhibitions at the Institute of Contemporary Arts in London from 2003 to 2007. Hoffmann is an adjunct professor at the California College of the Arts, San Francisco, a guest professor at the Nuova Accademia de Belle Arti, Milan, and a faculty member at Goldsmiths College, University of London. He was the co-curator for the 12th Istanbul Biennial in fall 2011.

Harrell Fletcher is an artist who has worked collaboratively and individually on socially engaged, interdisciplinary projects for more than fifteen years; his work has been exhibited throughout the United States, and in Europe. He is a professor of art and social practice at portland state university in Portland, Oregon.

Michael Connor is a curator and media historian based in New York. He is currently developing a permanent exhibition to open at the Australian Centre for the Moving Image in Melbourne. Formerly the head of exhibitions at the British Film Institute, he developed the BFI Southbank Gallery, and was also previously a curator at FACT in Liverpool.

João Ribas is curator at the MIT List Visual Arts Center and a widely published critic. He was previously curator at The Drawing Center in New York, and is the winner of three consecutive AICA Awards for Best Exhibition (2008/2009/2010) and of an Emily Hall Tremaine Exhibition Award (2010). He has contributed essays to numerous exhibition catalogs and monographs, and has been a visiting lecturer for institutions and organizations worldwide. He was previously adjunct faculty at the School of Visual Arts, New York, and at the Rhode Island School of Design.

Christopher Bedford is Chief Curator at the Wexner Center.  Recent exhibitions include a survey of Mark Bradford’s work that opened in Columbus in May 2010 and will travel to the ICA Boston, MCA Chicago, Dallas Museum of Art, and SFMoMA, as well as smaller shows of work by Alyson Shotz and Susan Philipsz, and a group exhibition entitled Hard Targets. Projects in progress include solo presentations of work by Erwin Redl, Tobias Putrih and MOS, Katy Moran, Joel Morrison, Nathalie Djurberg, and Paul Sietsema, as well as a Facture and Fidelity: Painting, 1945-2013, co-organized with Katy Siegel, which will open at the Wexner Center in 2013.  He has written extensively on art for publications including Artforum, Art in America, Frieze and October.

Mai Abu ElDahab lives and works in Antwerp, Belgium, where she has been the director of the non-profit art space Objectif Exhibitions since fall 2007. There, she has organized solo exhibitions by Guy Ben-Ner, Mariana Castillo Deball, Sancho Silva, Michael Smith, Chris Evans, Kirsten Pieroth, and Michael Stevenson, among others. She is a regular guest lecturer at the Higher Institute of Fine Arts (HISK) in Ghent, a member of the editorial board of A Prior Magazine (Ghent), a participant in the Reading Group at the ICA (London). In 2006, she was curator of the exhibition and publication Philip at Project Arts Center (Dublin); co-editor of DOTDOTDOT 13; editor of CAC Interviu 7-8; co-editor with Sven Augustijnen of A Prior 14; guest teacher at the School of Visual Arts (New York); and a member of the curatorial team of Manifesta 6: European Biennale of Contemporary Art in Nicosia, which was canceled before its opening, scheduled for September 2006. In 2009, she co-curated A Fantasy for Allan Kaprow with Philippe Pirotte at the Contemporary Image Collective, Cairo, and is currently working with the Piet Zwart Institute in Rotterdam on their 2010 M.F.A. graduation show.

Magali Arriola is based in Mexico City, where she is currently chief curator at the Museo Tamayo Arte Contemporáneo, and from 1998 to 2001 was chief curator at the Museo Carrillo Gil. Arriola has also curated Alibis, Mexican Cultural Institute, Paris, and Witte de With, Rotterdam (2002), How to Learn to Love the Bomb and Stop Worrying about It, CANAIA, México City, and Central de Arte at WTC, Guadalajara, Mexico (2003–04), What once passed for a future, or Landscapes of the living dead at Art2102, Los Angeles (2005), Prophets of Deceit at Wattis Institute for Contemporary Art, San Francisco (2006), and the 8th Panama Biennial (2008). She was also a visiting curator at the Wattis Institute for Contemporary Art in San Francisco in 2006. Arriola has contributed to publications such as Poliéster, ArtNexus, Parachute, Exit, Spike, Afterall and Manifesta Journal.

Ruth Auerbach is a researcher on visual arts, a curator and contemporary art critic, and is currently director of the Sala Mendoza in Caracas, Venezuela. Since completing her studies at the Central University of Venezuela from 1981 to 1986, she has curated many exhibitions, with a particular focus on the presentation of contemporary art from Venezuela, including Trasatlántica, The America Non Representativa, Museo Alejandro Otero, Caracas (1994), Utópolis, Galería de Arte Nacional, Caracas (2001), Adán y Eva ya no viven aquí, anymore! (Adam and Eve no longer live here, anymore!), Houston Community College, Texas, as part of Fotofest (2002), Transatlantica: The America-Europa Non-Representativa, Museo de Arte Moderno Venezuela, (2005), and Double Perspective: 7 Contemporary Artists from Venezuela, Boliver Hall, London (2007) and Maddox Arts, London (2008). Auerbach has contributed articles to Gego: Obra Completa, 1955–1990, Eugenio Espinoza, and other catalogues and monographs.

Lars Bang Larsen is an art historian, independent curator, and writer based in Barcelona and Copenhagen. He has co-curated group exhibitions such as Pyramids of Mars at Fruitmarket Gallery, Edinburgh (2000), Populism at Stedelijk Museum, Amsterdam (2005), La insurrección invisible de un millón de mentes at Sala Rekalde, Bilbao, Spain (2005), and A History of Irritated Material at Raven Row, London (2010). His publications include Sture Johannesson (NIFCA/Lukas & Sternberg, 2002), a monograph about Palle Nielsen’s utopian adventure playgrounds, The Model: A Model for a Qualitative Society, 1968 (MACBA, 2010), and the essay series Kunst er Norm (Art Is Norm) (Aarhus, Denmark: Jutland Art Academy).

Zoe is Executive Director and Curator of Sàn Art, Vietnam’s most active independent contemporary art space and reading room in Ho Chi Minh City. From 2007-2009 she was Director, International Programs, Long March Project – a multi-platform, international artist organization and ongoing art project based in Beijing, China.  From 2001-2007 she was Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane, Australia where she assisted in the development of the Asia-Pacific Triennial of Contemporary Art (APT); key acquisitions for the Contemporary Asian art collection, and other associated gallery programs. Her curatorial referral work is pan-Asian, working with private collectors and researchers, independent curators and major museums globally. Zoe is a PhD candidate with the Centre for Contemporary Art and Politics, National Institute for Experimental Arts, College of Fine Arts, University of New South Wales, Sydney, Australia.

Yane Calovski is an artist and curator living and working in Skopje. His practice incorporates writing, drawing, video, public actions, publications, installations, and curatorial projects, and his work has been exhibited and published internationally, most recently in a solo exhibition at the European Kunshalle in Cologne, Germany (2009) and in Manifesta 7 in Bolzano, Italy (2008). Calovski is the founder and artistic director of “press to exit project space” in Skopje, Macedonia, and the contemporary art periodical D (D is for Drawing). He studied at the Pennsylvania Academy of the Fine Arts, Philadephia (1992–96) and Bennington College, Vermont (1996–97) and participated in the post-graduate studio program at the CCA Kitakyushu, Japan (1999–2000) and at the Jan van Eyck Academy, Maastricht, The Netherlands (2002–04). He is currently working on PONDER PAUSE PROCESS (A SITUATION), an exhibition project to be presented at the Tate Britain as part of Contemporary Art Society’s centenary program (2010).

Amy Cheng is an art critic and independent curator who lives and works in Taipei. She studied art history at the Graduate School of National Taiwan Normal University in 1996 and taught as a lecturer in the evening program of Fu-Jen Catholic University’s English department (1997–99). Cheng is the founder of TheCube Project Space in Taipei, which opened in 2010. Among the exhibitions she has curated are two group shows at the Taipei Fine Arts Museum—the Taipei Biennial (2004) and Altered States (2006)—and, after that, THTP/Phase Five/Oversight/2008 at Centre A: Vancouver International Centre for Contemporary Asian Art (2008) and Traversing the Fantasy at the Cube Project Space, Taipei (2010). Cheng became feature writer for ARTCO magazine in 2000, and is currently their lead feature writer; and she is the editor/writer of Art and Society: Introducing Seven Contemporary Artists (Taipei Fine Arts Museum, 2009).

Ana Paula is an independent curator, editor, and writer based in Brazil. She is currently a curator in residence at the Center for Curatorial Studies at Bard College, in Annandale-on-Hudson, New York. Cohen served as co-curator for the 2007 project Encuentro Internacional de Medellín 07 in Colombia, in which she created, in collaboration with other artists and curators, a new center for contemporary art, La Casa del Encuentro; and she was the adjunct curator for the 28th São Paulo Bienal (2008). Cohen has been a contributor to several art magazines, including Frieze, ArtNexus, and Exit Express. She has also organized many conferences and lecture series, including “History as a Flexible Matter: Artistic Practices and New Systems of Reading” in 2008 for the São Paulo Bienal.

Joselina Cruz is an independent curator based in Manila, Philippines. She studied art history at the University of the Philippines, and received an M.A. in curating contemporary art from the Royal College of Art, London. Cruz has worked as a curator for the Lopez Memorial Museum in Manila (2001-04) and the Singapore Art Museum (2004–07). She was a curator for the 2nd Singapore Biennale in 2008 and one of the networking curators for the 13th Jakarta Biennale in 2009. Cruz was curator-in-charge of the Tàpies retrospective at the Singapore Art Museum (2005), co-curated All the Best: The Deutsche Bank Collection and Zaha Hadid, Singapore Art Museum (2006), and curated You Are Not a Tourist for Curating Lab, Singapore (part of the Singapore Art Show 2007) and Creative Index: An Exhibition in Manila (2010) for the 10th Regional Anniversary of the Nippon Foundation’s Asian Public Intellectuals Fellowship program. She also writes essays, reviews, criticism, and art commentary.

Sergio Edelsztein is an independent curator based in Tel Aviv, Israel. After studying at Tel Aviv University (1976–85), Edelsztein founded and directed Artifact Gallery in Tel Aviv (1987–95), and in 1998 he founded and became director and chief curator of the Center for Contemporary Art (CCA), also in Tel Aviv. At CCA, he curated seven Performance Art Biennials and four International Video Art Biennials (Video Zone), as well as numerous experimental and video art screenings, retrospectives, and performance events there and elsewhere in Israel. Since 1995, Edelsztein has curated exhibitions and video programs in Spain, China, the U.K., and other nations, as well as the Israeli exhibition at the 24th São Paulo Bienal in 1998 and the Israeli Pavilion at the 51st Venice Biennale in 2005. He has also lectured and written extensively for exhibition catalogues, web sites, and various magazines and journals.

Charles Esche is a curator and writer. He is Director of van Abbemuseum, Eindhoven and co-director of Afterall Journal and Books based at Central St. Martins College of Art and Design, London. He is a visiting lecturer at a number of European art academies and a board member of Manifesta. In 2011 he will co-curate an exhibition of the museum’s collection in the CAPC, Bordeaux entitled Strange and Close. In the last years, he has curated the following biennials 5th U3 triennial in Ljubljana, Slovenia, 2010; 3rd Riwaq Biennale, Ramallah, Palestine, 2009 together with Reem Fadda,  2nd Riwaq Biennale 2007 with Khalil Rabah; the 9th Istanbul Biennial 2005 with Vasif Kortun, Esra Sarigedik Öktem and November Paynter and the Gwangju Biennale 2002 in Korea with Hou Hanru and Song Wang Kyung. Before that he was co-curator of Tate Triennial: Intelligence at the Tate Britain, London and Amateur – Variable Research Initiatives at Konstmuseum and Konsthall, Göteborg, both in 2000.

From 2000-2004 he was Director of the Rooseum Center for Contemporary Art, Malmö. From 1998-2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993-1997 he was Visual Arts Director at Tramway, Glasgow. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.

Lauri Firstenberg is the director and curator of LA>Short Century: Independence and Liberation Movements in Africa 1945–2001, which originated at the Museum Villa Stuck, Munich, and the Haus der Kulturen der Welt, Berlin; and she was a curatorial assistant for Documenta 11 in Kassel, Germany (2002). She has collaborated on exhibitions at LA>

California Biennial at the Orange County Museum of Art and recently curated projects at ArtPace, San Antonio and Participant Inc, New York. She has taught in the Public Art Studies program at U.S.C. and at SciARC.

Alexie Glass-Kantor is based in Melbourne, where since 2005 she has been the director and senior curator of Gertrude Contemporary, one of Australia’s longest-running independent art spaces, housing galleries, sixteen artist’s studios, and an international exhibition and residency program. Before that, Glass-Kantor was a curator at the Australian Centre for the Moving Image (ACMI) and worked in state art institutions, museums, independent spaces, and festivals. As a curator, she has contributed to recent projects at institutions including Petronas Gallery, Kuala Lumpur, Malaysia (2007), SITE Santa Fe Biennial, New Mexico (2008), National University of Singapore Art Museum, Singapore (2008–09), Magazzino D’arte Moderna, Rome (2009), Ivan Dougherty Gallery, University of New South Wales, Sydney (2009), and Iberia Centre for Contemporary Art, Beijing (2010). Glass-Kantor regularly contributes to symposiums, forums, and journals throughout the Asia-Pacific region; was the Asialink curator-in-residence at Ssamzie Space, Seoul, in 2006; and is a board member of the National Association for the Visual Arts (NAVA), Australia’s peak body for cultural advocacy.

Julieta Gonzalez is associate curator of Latin American Art at Tate Modern, London and an independent curator. She studied architecture at the Universidad Simón Bolívar in Caracas and at the École d’Architecture Paris-Villemin in Paris. From 1997–98 she was a Helena Rubinstein Curatorial Fellow at the Whitney Independent Study Program, and curator of contemporary art at the Museo Alejandro Otero and Museo de Bellas Artes de Caracas from 1999–2003. She was co-curator of the 2da Trienal Poligráfica de San Juan, Latinoamérica y el Caribe with Jens Hoffmann along with Artistic Director Adriano Pedrosa and guest curator Beatriz Santiago. Gonzalez has curated over 30 exhibitions including Juan Downey: El ojo pensante at Fundación Telefónica, Santiago, Chile (2010); Farsites at Insite San Diego/Tijuana (2005) (adjunct curator with curator Adriano Pedrosa); Etnografía modo de empleo at Museo de Bellas Artes de Caracas (2003).

Anthony Huberman is a curator and writer based in New York. As chief curator of the Contemporary Art Museum St. Louis, he organized exhibitions of Gedi Sibony, Lutz Bacher, Bruce Nauman, John Armleder, and Olivier Mosset, and initiated the ongoing exhibition series The Front Room. His recent group exhibition, For the blind man in the dark room looking for the black cat that isn’t there, traveled to museums in London, Detroit, Amsterdam, and Lisbon. He has previously worked as a curator at the Palais de Tokyo in Paris and at SculptureCenter in Long Island City, New York, and has published articles in art periodicals including Artforum, Afterall, and DotDotDot. He also co-directs The Steins, an occasional series of short exhibitions in New York.

Mami Kataoka lives and works in Tokyo and London; she is currently chief curator at Mori Art Museum in Tokyo and international associate curator at Hayward Gallery in London. The exhibitions she curated at Mori include Roppongi Crossing: New Visions in Contemporary Japanese Art 2004 (2004), Ozawa Tsuyoshi (2004), All about Laughter (2007), and Ai Weiwei: According to What?(2009). At the Hayward, she curated Laughing in a Foreign Language (2008) and Ujino and the Rotators (2009), and co-curated Walking in My Mind (2009). Before that, she was a chief curator at Tokyo Opera City Art Gallery from 1998 to 2002, where she curated Releasing Senses (1999), Tatsuo Miyajima (2000), and Rirkrit Tiravanija (2002), among others. In 2007 she co-curated Beautiful New World: Contemporary Visual Culture from Japan” in Beijing and Guangzhou; and in 2009, she co-curated Discovery: discovering contemporary at ShContemporary in Shanghai and Platform Seoul 2009 (P1).

Constance Lewallen lives and works in San Francisco, California, where she is adjunct curator at the University of California Berkeley Art Museum and Pacific Film Archive. As senior curator there from 1998 to 2007, she curated many national and international traveling exhibitions, including Joe Brainard (2001); Dream of the Audience: Theresa Hak Kyung Cha (2001); Everything Matters: Paul Kos, a Retrospective (2003); Ant Farm 1968–1978 (2004, co-curated with Steve Seid); and A Rose Has No Teeth: Bruce Nauman in the 1960s (2007). In 2009 she organized Allen Ruppersberg: You and Me or the Art of Give and Take at the Santa Monica Museum; and she co-curated State of Mind: New California Art ca. 1970, with Karen Moss of the Orange County Museum, which opened in 2011. Lewallen has written many essays and articles, and also edited the book Exileé and Temps Morts: Selected Works by Theresa Hak Kyung Cha (2009).

Lu Jie is currently based in Beijing, where since 2002 he has been chief curator of the Long March Project, a complex, multi-platform, international arts organization and ongoing art project, originally conceived as a series of exhibitions, performances, symposia, and discussions at public sites in China along the route of Mao Zedong’s historic Long March. He graduated in 1988 with a B.F.A. from the China Academy of Arts in Hangzhou, and received an M.A. in curating in 1999 from Goldsmiths College, University of London. Lu is currently an advisor for the Asia Art Archive in Hong Kong; and on the Editorial Board Yishu – Journal of Contemporary Chinese Art (Vancouver). He has curated numerous contemporary art projects and exhibitions, including the following Long March projects, which were presented in various international locations: A Walking Visual Display (2002), The Great Survey of Paper-cutting in Yanchuan County (2004), Yan’an Project (2006), No Chinatown (2007), and Ho Chi Minh Trail (Duong Truong Son) (2008-ongoing). Lu has given lectures and talks at numerous educational institutions and museums in Asia, Europe, and North America.

Raimundas Malasauskas is a writer and curator who lives and works in Paris. From 1995 to 2006 he was a curator at CAC Vilnius and CAC TV; in 2007 he co-wrote the libretto of an opera, Cellador, which was performed in Paris; in 2007–08 he was a visiting curator at California College of Arts, San Francisco, and from 2007 to 2009 he was also a curator at Artists Space, New York. His writings are concerned with contemporary phenomena, biographies and stories, addressing the parallel worlds of science, media, film, literature, and mass culture.

Francesco Manacorda is an independent curator based in London. He graduated from the University of Turin and received an M.A. in curating contemporary art from the Royal College of Art, London, in 2003. Earlier this year he was appointed artistic director of the 2010 Artissima, the international art fair of contemporary art in Turin (opening November 2010). He worked as a curator at the Barbican Art Gallery, London, 2007–09, and his freelance practice has included curating Subcontinent: The Indian Subcontinent in Contemporary Art, Fondazione Sandretto Re Rebaudengo, Turin (2006) and national pavilions at the 52nd Venice Biennale (Tobias Putrih, Slovenian Pavilion, 2007 and Francis Upritchard, New Zealand Pavilion, 2009). Manacorda is also currently a visiting lecturer in exhibition history and critical theory in the Curating Contemporary Art department at the Royal College of Art, London. He has written extensively for Domus, Flash Art Italia, Flash Art International, Frieze, Metropolis M, Piktogram, Untitled, and Art Review.

Chus Martinez is dOCUMENTA (13) Head of Department, and Member of Core Agent Group, as well as Associate Curator at MACBA, Barcelona, where she was Chief Curator from 2008 to 2010. Previously she was Director of the Frankfurter Kunstverein (2005–08) and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 50th Biennale di Venezia (2005), Martínez curated the National Pavilion of Cyprus, and in 2010 served as a Curatorial Advisor for the 29th Bienal de São Paulo. She lectures regularly and has written numerous catalogue texts and critical essays.

Viktor Misiano lives in Moscow and in Ceglie Messapica, Italy. He was a curator of contemporary art at the Pushkin National Museum of Fine Arts, Moscow (1980–90) and the director of the Center for Contemporary Art (CAC), Moscow (1992–97). In his freelance practice, Misiano was on the curatorial team for Manifesta 1, Rotterdam (1996) and curated the Russian section of the 3rd Istanbul Biennial (1992), the 46th and 50th Venice Biennale (1995, 2003), the 1st Valencia Bienal, Spain (2001), the 25th and 26th São Paulo Bienal (2002, 2004), the Central Asia Pavilion at the 51st Venice Biennale (2005), Live Cinema/The Return of the Image: Video from Central Asia, Philadelphia Museum of Art (2007–08), and Progressive Nostalgia: Art from the Former USSR, Centro per l’arte contemporanea, Prato (2007, traveled to Athens; Tallinn, Estonia; and Helsinki). In 1993 he was a founder of the Moscow Art Magazine and has been its editor-in-chief ever since; and in 2003 he was a founder of the Manifesta Journal: Journal of Contemporary Curatorship (Amsterdam-Ljubljana) and since then has also been an editor there. He has been awarded an honorary doctorate from the Helsinki University for Art and Design.

David Moos is an independent art adviser, curator and writer based in Toronto, Canada. He received his M.A. and Ph.D in art history, both from Columbia University, New York. Moos was the curator of modern and contemporary art at the Birmingham Museum of Art, Alabama, from 1998 to 2004, and most recently, the curator of modern and contemporary art at the Art Gallery of Ontario, Toronto. He has organized numerous retrospectives and traveling exhibitions, including Jonathan Lasker: Selective Identity (2000) and Radcliffe Bailey: The Magic City (2001), both at the Birmingham Museum of Art, and then, at the Art Gallery of Ontario, The Shape of Colour: Excursions in Colour Field Art, 1950-2005 (2005), and Julian Schnabel: Art and Film (2010). Moos is also a contributing editor to Art Papers and Art US.

Deeksha Nath is an independent critic and curator based in New Delhi. She is a Charles Wallace scholar (funded by the Charles Wallace India Trust under the supervision of the British Council) and has completed her studies in fine arts at Maharaja Sayajirao University of Baroda, Vadodara, India; City University, London; and Goldsmiths’ College, University of London. She curated House of Mirrors at Grosvenor Vadehra, London (2007); Still/Moving Image, inaugural exhibition of Devi Art Foundation, Gurgaon, India (2008); and co-curated the Best of Discovery section at ShContemporary, the Asia Pacific Contemporary Art Fair, Shanghai (2008), Immersions at Anant Art Gallery, Delhi (2009); and Astonishment of Being at Birla Academy of Art and Culture, Kolkata (2009). She is currently desk editor at Art AsiaPacific, New York and ArtEtc., Kolkata, and her writing has been published widely in books, exhibition catalogues, national and international magazines and journals; she was formerly editor of the web journal www.craftrevivaltrust.org. Deeksha has worked at the Tate Modern, London and the National Gallery of Modern Art, New Delhi.

Simon Njami lives in Paris, where he is an independent lecturer, curator, and art critic, and a visual-arts consultant for Cultures France, the French Ministry of Foreign Affairs’ cultural branch. He received an M.A. in art history and philosophy and a Ph.D. in law and modern literature. Njami has curated numerous exhibitions of African art and photography, including Die Andere Reise/The Other Journey: Africa and the Diaspora, Kunsthalle Krems, Vienna (1996), Les Rencontres Africaines de la Photographie, Bamako Photography Biennial, Mali (2001 and 2009), Up and Coming, ARCO, Madrid (2003), Africa Remix: Contemporary Art of a Continent, Museum Kunst Palast, Düsseldorf (2004–07, traveling to London, Paris, Tokyo, and Johannesburg), and As You Like It, the first African contemporary art fair in Johannesburg (2008), and was also co-curator with Angolese artist Fernando Alvim of the first African Pavilion at the 52nd Venice Biennale (2007). His latest shows are A Collective Diary (Tel-Aviv, 2010), a solo show of Cameroonian artist Bili Bidjocka (Paris, 2010) and A Useful dream (Brussels 2010). Njami is also co-founder and editor-in-chief of the Paris based cultural magazine Revue Noire, and has contributed essays to the catalogue for the Sydney Biennial and other exhibitions. His latest book a biography of President Leopold Sedar Senghor was published in 2007 (Fayard, Paris).

Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) lives and works in London, where he is co-director of exhibitions and programs and director of international projects at the Serpentine Gallery. Before that, he was curator of Museum in Progress, Vienna, from 1993 to 2000 and has been a curator at the Musée d’Art Moderne de la Ville de Paris since 2000. Obrist has curated and co-curated more than 200 solo and group exhibitions and biennials internationally since 1991, including World Soup (1991), Hotel Carlton Palace (1993), do it (1994), Take Me, I’m Yours (1995), Manifesta 1 (1996), Live/Life (1996), Cities on the Move (1997), Nuit Blanche (1998), 1st Berlin Biennial (1998), Laboratorium (1999), Utopia Station (2003), Dakar Biennale (2004), 2nd Guangzhou Triennial (2005), 1st & 2nd Moscow Biennale (2005 and 2007), Lyon Biennale (2007), and Yokohama Triennial (2008). In 2007, Hans Ulrich co-curated Il Tempo del Postino with Philippe Parreno for the Manchester International Festival, also presented in Basel (2009), organized by Fondation Beyeler Art Basel and Theater Basel. In the same year, the Van Alen Institute awarded him the New York Prize Senior Fellowship for 2007–08. In 2008 he curated Everstill at the Lorca House in Granada. Obrist is contributing editor of Abitare Magazine, Artforum, and Paradis Magazine.

Jack Persekian is a curator and producer who lives in Jerusalem and in Sharjah, U.A.E. He is the founding director of Anadiel Gallery, the Al-Ma’mal Foundation for Contemporary Art in Jerusalem, and XEIN Productions. Exhibitions he has curated include the Official Palestinian Representation to the São Paulo Bienal (1998), In weiter ferne, so nah, neue palastinensische kunst at Ifa Galleries in Bonn, Stuttgart, and Berlin (2002), Disorientation: Contemporary Arab Artists from the Middle East at Haus der Kulturen der Welt, Berlin (2003), Reconsidering Palestinian Art in Cuenca, Spain (2006), The Jerusalem Show in Jerusalem (2007 and 2009), and DisOrientation II: The Rise and Fall of Arab Cities, at Abu Dhabi Art (2009). He was chief curator of the 7th Sharjah Biennial (2005) and artistic director of the 8th and 9th Sharjah Biennials (2007 and 2009). He has also directed and produced the Millennium Celebrations in Bethlehem, in 2000 and the Palestinian Cultural Evening at the World Economic Forum in the Dead Sea, Jordan (2004).

Jose Roca lives and works in Bogotá, Colombia, and in Philadelphia, where he is currently artistic director of Philagrafika 2010, a contemporary printmaking event. From 1998 to 2008 he managed the arts program of the Banco de la República in Bogotá, establishing it as one of the most respected institutions in the Latin American circuit. Roca was a co-curator of the first Poly/graphic Triennial in San Juan, Puerto Rico (2004); the 27th Bienal de São Paulo in Brazil (2006); the Encuentro de Medellín MDE07 (2007); and of Cart[ajena], a series of urban interventions in Cartagena, Colombia (2007). He also served on the awards jury for the 52nd Venice Biennial (2007).

Bisi Silva is an independent curator based in Lagos and London and the founder/director of Centre for Contemporary Art, Lagos, Nigeria (CCA Lagos). As director of CCA Lagos, she curated Fela, Ghariokwu Lemi and the Art of the Album Cover (2007), Ndidi Dike, Waka-into-Bondage: The Last ¾ Mile (2008), George Osodi, Paradise Lost: Revisiting the Niger Delta (2008), and Like A Virgin . . . Lucy Azubuike and Zanele Muholi (2009). In 2006, Silva co-curated the Dakar Biennale in Senegal, and in 2009 she co-curated the 2nd Thessaloniki Biennale of Contemporary Art, Greece. In 2008 she was co-selector with Portuguese curator Isabel Carlos of the prestigious international Artists’ Prize, Artes Mundi 3 in Wales. Silva has participated in several seminars and conferences locally and internationally and written for international art magazines and journals such as Agufon, Artforum, Artinfo.com, Art Monthly, Untitled, Third Text, and M Metropolis. She is also on the editorial board of N Paradoxa, an international feminist art journal. 

Franklin Sirmans lives and works in Los Angeles, where he is the department head and curator of contemporary art at the Los Angeles County Museum of Art (LACMA). From 2006 through 2009, he was the curator of modern and contemporary art at the Menil Collection in Houston, where the exhibitions he organized included NeoHooDoo: Art for a Forgotten Faith (which traveled to P.S.1 in New York and to Miami Art Museum); and before that he was co-curator of Basquiat (2005–06: Brooklyn Museum, Los Angeles Museum of Contemporary Art, and Museum of Fine Arts, Houston). More recently he co-curated Steve Wolfe: On Paper (2009, Menil Collection and Whitney Museum of American Art). Sirmans was the 2007 recipient of the David C. Driskell Prize awarded by the High Museum of Art, Atlanta; and in 2009 he received one of the first Gold Rush Award given by the Rush Philanthropic Arts Foundation. Sirmans has also written essays for several exhibition catalogues, and articles and reviews in publications such as the New York Times, Time Out New York, Essence, and Grand Street.

Kathryn Smith lives in Cape Town, South Africa, and she is a senior lecturer and head of fine arts studio practice in the Department of Visual Arts, University of Stellenbosch, east of Cape Town. In addition to teaching, she does her own studio work, organizes exhibitions, and does scholarly research. Smith’s writing has been published in catalogues and journals in South Africa and internationally, and she served as a curatorial correspondent for both the 2005 Turin Triennale and the 2008 Biennale of Sydney, participating in discussions and public events for those exhibitions and contributing essays to the catalogues. Her research interests include criminography, camera-based mediums, psycho-geographic art strategies, and historical avant-garde and experimental/radical practices in South African art. She recently established an informal project space in her studio, for her or invited guests to present projects informed by, and directed at, critical conversations about art practice.

Susan Sollins lives and works in New York. Sollins is co-founder and executive director emerita of ICI (1975–96), and the founder and executive director of the art organization Art21 (1997- ongoing) and executive producer/curator of its PBS television series “Art:21—Art in the Twenty-First Century” (2001–ongoing). She was a member of the senior curatorial team at the Smithsonian’s American Art Museum early in her career, and was visual-arts consultant for Thirteen/WNET’s tv program City Arts. Among the exhibitions she has curated are Art in Landscape, (1976–77), New Sculpture: Icon and Environment, (1983–84), Points of View: Four Painters, (1985–86), Eternal Metaphors: New Art from Italy (1989–92), all of which widely traveled through the US, and TABAIMO, 601Artspace, New York (2010); and she has co-curated many exhibitions, including Supershow!, (1979–80), After Matisse, (1986–88), and Team Spirit, (1990–92) all of which traveled to different institutions in the US. She has also made a feature-length film on William Kentridge for broadcast on PBS (2010). Sollins currently serves on the boards of the MacDowell Colony and ICI. She has received a Peabody Award for “Art:21—Art in the Twenty-First Century” (2007) and the Skowhegan Governors Award for Outstanding Service to Artists (2008).

Mirjam Varadinis is a curator and writer based in Zurich, Switzerland. She is a curator for Kunsthaus Zürich, where she has curated many exhibitions, including Aleksandra Mir: Switzerland and Other Islands (2006), Shifting Identities (2008), and Motion Picture(s) (2010). Varadinis also co-curated the exhibition Broken Lines as a part of the annual art festival Printemps de Septembre (2006) in Toulouse, France. Varadinis has contributed to and edited numerous exhibition catalogues, and has also edited Parkett: 20 Years of Artists’ Collaborations.

What, How & for Whom/WHW is a curatorial collective formed in 1999 and based in Zagreb, Croatia. Its members are Ivet Ćurlin, Ana Dević, Nataša Ilić, and Sabina Sabolović, and designer and publicist Dejan Kršić. WHW organizes a range of production, exhibition, and publishing projects and since 2003 has been directing city-owned Gallery Nova in Zagreb. “What?,” “How?,” and “For whom?” are the three basic questions of every economic organization, and are fundamental to the planning, conception, and realization of exhibitions and the production and distribution of artworks and the artist’s position in the labor market. These questions formed the title of WHW’s first project, in 2000 in Zagreb, dedicated to the 152nd anniversary of the Communist Manifesto, and became the motto of WHW’s work and the name of their collective. Other exhibitions they have curated include Broadcasting Project, dedicated to Nikola Tesla  at the Technical Museum, Zagreb (2002), Looking Awry at Apexart, New York (2003), Side-effects at the Museum of Contemporary Art, Belgrade (2004), Normalization  at Gallery Nova, Zagreb (2004), Collective Creativity  at Kunsthalle Fridericianum, Kassel (2005), Final Exhibition at Galerija Nova, Zagreb (2006), and the 11th Istanbul Biennial (2009).

Weng Choy Lee lives and works in Singapore. He is an art critic and president of the Singapore Section of the International Association of Art Critics. Formerly the artistic co-director of The Substation arts center, Lee is now director of projects, research, and publications at the Osage Art Foundation. He has lectured on art and cultural studies, convened international conferences, and written widely on contemporary art, and is a consultant lecturer at the Sotheby’s Institute of Art, Singapore.

Susan Hapgood is Senior Advisor to ICI, and Founder and Director of the Mumbai Art Room. She was ICI’s director of exhibitions, developing and managing the exhibitions program for seven years until 2010. She has worked in a curatorial capacity for institutions including the Guggenheim Museum, New Museum, and American Federation of Arts. The exhibitions she has curated include FluxAttitudes, Neo-Dada: Redefining Art 1958-62, Video Divertimento, and Slightly Unbalanced, and In Deed: Certificates of Authenticity in Art, and her texts have appeared in publications including Art in America, Frieze, and FlashArt. She received a M.A. in Art History from the Institute of Fine Arts of New York University.

Jose Roca lives and works in Bogotá, Colombia, and in Philadelphia, where he is currently artistic director of Philagrafika 2010, a contemporary printmaking event. From 1998 to 2008 he managed the arts program of the Banco de la República in Bogotá, establishing it as one of the most respected institutions in the Latin American circuit. Roca was a co-curator of the first Poly/graphic Triennial in San Juan, Puerto Rico (2004); the 27th Bienal de São Paulo in Brazil (2006); the Encuentro de Medellín MDE07 (2007); and of Cart[ajena], a series of urban interventions in Cartagena, Colombia (2007). He also served on the awards jury for the 52nd Venice Biennial (2007).