Miguel A. López (Lima, 1983) is a writer and curator, and the Chief Curator of Museo Universitario del Chopo, UNAM, Mexico City. In his practice, he focuses on the role of art in politics and public life, collective work and collaborative dynamics, and queer and feminist rewritings of history. He was a co-curator for the 2024 edition of the Toronto Biennial of Art. From 2015 to 2020, he worked as Chief Curator, and later Co-director at TEOR/éTica, Costa Rica. Previously, López was curator of Lugar a Dudas, Colombia, in 2012-2013. In 2014, he curated the section Deus é bicha (God is Queer) and the presentation of Giuseppe Campuzano’s Museo Travesti del Perú for the 31st Bienal de São Paulo.
In 2019, he curated the retrospective exhibition Cecilia Vicuña: Seehearing the Enlightened Failure at the Witte de With (now Kunstinstituut Melly), Rotterdam, which traveled to Mexico City, Madrid, and Bogota. Between 2023 and 2024, a second retrospective Cecilia Vicuña. Dreaming Water, curated by López, was presented at the Museo Nacional de Bellas Artes (MNBA) in Chile, MALBA in Argentina, and Pinacoteca de São Paulo in Brazil. Other recent curatorial projects include Fernanda Laguna. My Heart is a Magnet (1992-2025) at Malba, Buenos Aires and Museo Nacional Reina Sofía, Madrid (2026-2027); Santiago Yahuarcani: The Beginning of Knowledge at Museo Universitario del Chopo in Mexico City, MASP in São Paulo, and the Whitworth in Manchester (2025-2026); Feet Under Fire: On Dispossession at the Museo de Arte Contemporáneo, Panamá (2024); Sila Chanto & Belkis Ramírez: Aquí me quedo / Here I Stay at ICA-VCU, Richmond (2022); Hard to Swallow: Anti-Patriarchal Poetics and New Scene in the Nineties at ICPNA, Lima (2021); and And if I devoted my life to one of its feathers? at the Kunsthalle Wien, Vienna (2021).
López is the editor and author of more than thirty books, catalogues, and monographic publications on issues of art, sexuality, social justice, cultural infrastructure, and political memory, including Pierina Másquez Limo. Sindicato de mujeres invisibles (2026); Cristina Flores Pescorán. Ñiñi para florecer Ñaña (2025); INSITE Journal 6: Common Thread (2023); And if I devoted my life to one of its feathers? Aesthetic Responses to Extraction, Accumulation, and Dispossession (2022); Virginia Pérez-Ratton. Central America: Desiring a Place (2019); Ficciones disidentes en la tierra de la misoginia (2019); Patricia Belli: Balance and Collapse (2018); Agítese antes de usar: Desplazamientos educativos, sociales y artísticos en América Latina (2017); The Words of Others: León Ferrari and Rhetoric in Times of War (2017); Caderno Sesc Videobrasil 11. Alianças de Corpos Vulneráveis (2016); Teresa Burga. Structures of Air (2015); and Sergio Zevallos. The Obscene Death. Drawings 1982-1987 (2015). He is also the editor of Escrituras Locales, an ongoing series of bilingual anthologies bringing together critical voices from Central American and the Caribbean.
