Notes on Contributors

Francisco Alambert is Professor of Social History of Art at the University of São Paulo, Brazil. As an art critic, his articles and essays appear in several newspapers and magazines in Brazil, Latin America, and Europe. He has published Biennials of São Paulo: From the Era of Museums to the Era of Curators (Boitempo, 2004); "For a (social) History of Brazilian art" (In Barcinski, Fabiana, On Brazilian Art: From Prehistory to the 1960s, 2015); "The Oiticica Fire" and "1001 Words for Mario Pedrosa" (both in Art Journal); "The Key Role of Criticism in Experimental and Avant-Garde Trends: Mário Pedrosa" (In Olea, Héctor; Ramírez, Mari Carmen. Building on a Construct: The Adolpho Leirner Collection of Brazilian Constructive Art at the Museum of Fine Arts, Houston, 2009); "El Goya Vengador en el Tercer Mundo: Picasso y Guernica en Brazil" (In Giunta, Andrea, El Guernica de Picasso: el poder de la representación, 2009).

Rocío Aranda-Alvarado is a program officer for the Ford Foundation, working in the Creativity and Free Expression group. She is the former curator of El Museo del Barrio (2009-2017), where she organized numerous exhibitions including Antonio Lopez: Future Funk Fashion and !PRESENTE! The Young Lords in New York, as well as the 2011 and 2013 editions of LA BIENAL, El Museo's biennial for emerging artists, and she was curator at the Jersey City Museum (2000-2008). Her writing has appeared in various publications including catalog essays for the Museum of Modern Art and El Museo del Barrio, Nka: Journal of Contemporary African Art, Art Nexus, Review, the journal of the Americas Society, NYFA Quarterly, Small Axe, BOMB and American Art.

Florencia Bazzano, Curatorial Research Associate for Latin American art, joined the Blanton Art Museum in 2015, after working for the Cantor Arts Museum at Stanford University and the Smithsonian Museum of American Art in Washington, DC. Dr. Bazzano is a University of Texas alum, where she received her undergraduate and master's degrees. She went on to receive her PhD in Latin American art from the University of New Mexico. She taught art history at Tulane University and Georgia State University. She has an extensive list of publications, including the books Liliana Porter: The Art of Simulation (Ashgate/Routledge, 2008); and Marta Traba en circulación (Universidad Nacional de Colombia, 2010). At the Blanton Museum of Art Bazzano has assisted in the presentation of several exhibitions, including Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940-1978 (2015); Fixing Shadows: Contemporary Peruvian Photography, 1968-2015 (2016); and the reinstallation of the Latin American permanent collection as part of You Belong Here: Reimagining the Blanton (2017).

Ingrid W. Elliott is an adjunct professor in Latin America art at Seattle University, and cocurator of "Amelia Peláez: the Craft of Modernity" at the Pérez Art Museum Miami (2013). Elliott completed her doctoral dissertation on Amelia Peláez and the Cuban vanguard in 2010 at the University of Chicago, with the support of a Fulbright-Hays fellowship for doctoral research in Cuba. Her research focuses on issues of gender in modern Cuban art.

Ticio Escobar is a Paraguayan lawyer, academic, author, museum director, and former Minister of Culture of Paraguay. His work on indigenous Paraguayan peoples and cultures has garnered him numerous awards, including Latin American Art Critic of the Year (1984), Guggenheim Foundation (1998), Prince Claus Award (1998), and the International Association of Art Critics Prize (2011).

José Luis Falconi received his PhD from Harvard University, teaches at University of Connecticut, and is director of Art Life Laboratory, a publishing house specializing in Latin American contemporary art. A curator, critic, and photographer, Dr. Falconi directed the Latin American contemporary arts initiative at Harvard (2006-2016) and has been the curator of more than twenty exhibitions of work by emergent Latin American artists. He has been a visiting professor at Boston University, Universidad de Chile, and Universidad Nacional de Colombia. His published books include A Singular Plurality: The Works of Dario Escobar (2013); The Great Swindle: The Works of Santiago Montoya (2014); and Pedro Reyes: Ad Usum/To Be Used (2018). A founding member of the Symbolic Reparations Research Project, he analyzes policies and practices of aesthetic memorialization in symbolic reparations for victims of human rights violations in the Americas.

Leonard Folgarait is Distinguished Professor of Art History at Vanderbilt University. He is the author of So Far from Heaven: David Alfaro Siqueiros' The March of Humanity and Mexican Revolutionary Politics (Cambridge, 1987); Mural Painting and Social Revolution in Mexico, 1920-1940: Art of the New Order (Cambridge, 1998); Seeing Mexico Photographed. The Work of Horne, Cassasola, Modotti, and Álvarez Bravo (Yale 2008); and coeditor and contributor of Mexican Muralism. A Critical History (California, 2012).

Claire F. Fox is Professor in the Departments of English and Spanish and Portuguese at the University of Iowa. She is the author of Making Art Panamerican: Cultural Policy and the Cold War (Minnesota, 2013); and The Fence and The River: Culture and Politics at the U.S.-Mexico Border (Minnesota, 1999).

Esther Gabara is Associate Professor of Romance Studies at Duke University. She is the author of several articles and catalog essays, and Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke, 2008).

Néstor García Canclini is Professor and Researcher at the Universidad Autónoma Metropolitana in Mexico City. An Argentinean-born anthropologist and critic, he is known for his theorization of the concept of hybridity. He is the author of numerous books, including in English translation Transforming Modernity: Popular Culture in Mexico (Texas, 1993); Hybrid Cultures: Strategies for Entering and Leaving Modernity (Minnesota, 1995); and Consumers and Citizens: Globalization and Multicultural Conflicts (Minnesota, 2001).

Andrea Giunta is an art historian and curator specializing in Latin American and contemporary art. She received her doctorate from the University of Buenos Aires, where she is a professor of Latin American and contemporary art. She is also a principal researcher at the National Council of Scientific and Technical Research (Conicet) of Argentina and a visiting professor at the University of Texas-Austin. Among her works are Feminismo y arte latinoamericano (2018); Radical Women: Latin American Art, 1960-1985 (with Cecilia Fajardo-Hill); Verboamérica (2016, with Agustín Pérez Rubio); When Does Contemporary Art Begin? (2014); Escribir las imágenes (2011); Objetos mutantes (2010); Poscrisis (2009); El Guernica de Picasso: el poder de la representación (2009); and Avant-Garde, Internationalism and Politics: Argentine Art in the Sixties (2007).

Robb Hernández is currently Associate Professor of Latinx and American Studies at Fordham University. His current book project examines the aftereffects of the AIDS crisis in Chicano avant-gardism of Southern California. He is cocurator of Mundos Alternos: Art and Science Fiction of the Americas, a Getty-sponsored exhibition for Pacific Standard Time II: LA/LA (2017-2018).

Juan Ledezma is an independent scholar and curator specialized 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...