Isobel Whiteleggis an art historian, curator and Director of Postgraduate Research at the School of Museum Studies, University of Leicester. She specialises in the history of contemporary art and its institutions in Brazil. After completing postgraduate research at the University of Essex, she co-devised two collaborative projects addressing the circulation and reception of art from Latin America:  ‘Latin American Art & the UK’ (2007-08) and ‘Meeting Margins Transnational Art in Europe & Latin America’ (2009-11). Building on sustained collaborative work centring on the archives of the Bienal de São Paulo, her present research focuses on the relationship between institutional memory and the historiography of Brazilian contemporary art (1969-85). Exhibitions curated include ‘Signals: If you like I shall grow’ (kurimanzutto at Thomas Dane, London, 2018) and the forthcoming mid-career retrospective ‘Cinthia Marcelle: a Conjunction of Factors’ (MACBA, 2022). She is a trustee of the artist-led organisation Primary and the Biennial Foundation and previously occupied two positions operating between academic and arts-institutional contexts: LJMU Research Curator, Tate Liverpool, and Head of Public Programmes, Nottingham Contemporary.

Michael Asbury is an Anglo-Brazilian scholar, art critic and curator based in London. He is the deputy director of the Transnational Art, Identity and Nation (TrAIN) research centre and a reader in the History and Theory of Art at Chelsea College of Arts, UAL. He has written extensively on Brazilian modern and contemporary art and curated several exhibitions. He is the author of many academic articles including: ‘Neo-concretism and Minimalism’, in Kobena Mercer (ed.), Cosmopolitan Modernisms, (iniva/MIT, 2005); ‘O Helio nao tinha Ginga’, in Paula Braga (ed.), Helio Oiticica: Fios Soltos, (Perspectiva, 2008); ‘Historiographies of the Contemporary’, in Conduru et al (eds.), New Worlds: Frontiers, Inclusion, Utopias, (CIHA/Getty, 2017); ‘Notes on Contamination and Quarantine’, in Bachmann et al. (eds.), Art/Histories in Transcultural Dynamics, (Wilhelm/Fink, 2017); ‘Sergio Camargo: E Agora Jose?’, in Jacopo Visconti (ed.), Encontros Fundamentais, (Instituto de Arte Contemporanea, 2020); ‘Form and Sensibility: discursive discrepancies in Brazilian art’, in Sergio Bessa (ed.), Form and Feeling: the making of concretism in Brazil, (Fordham/Bronx Museum, 2021).

Andrea Giunta is Professor at the Universidad de Buenos Aires, where she got her PhD, and is Principal Researcher of the CONICET, Argentina. She is the author of several books on Latin American and International Art, such as Avant-Garde, Internationalism and Politics. Argentine Art After the Sixties (Duke University Press, 2007) and ¿When Does Contemporary Art Begin? (ArteBA 2014). She was founder director of the Center for Latin American Visual Studies at the University of Texas at Austin (2009-2013) where she holds the Chair in Latin American Art History and Criticism. She was curator of the controversial retrospective exhibition on ‘León Ferrari’s works’ (Centro Cultural Recoleta, Buenos Aires, 2004), co-curator (with Agustin Pérez Rubio) of ‘Verboamérica, permanent collection of Latin American Art at MALBA’ (2016), and co-curator (with Cecilia Fajardo-Hill) of ‘Radical Women: Latin American Art, 1960-1985,’ at the Hammer Museum. Visiting Professor at Duke University, Ecole des hautes études en sciences sociales, Paris, she was awarded with the Guggenheim, Getty, Rockefeller, Harrington fellowships and as Visiting Professor at Columbia University, Spring 2017. Her essays on Latin American and international postwar art have been published in academic journals, books and catalogue exhibitions in the Americas and Europe.

Maria Iñigo Clavo is a researcher, curator, Assistant Professor at the Open University of Catalonia, and an MA Lecturer in Curating Art and Public Programmes at Whitechapel Gallery in London. Íñigo cofounded the independent research group ‘Peninsula: Colonial Processes and Artistic and Curatorial Practices’, in collaboration with Museo Nacional Centro de Arte Reina Sofía. She has been a researcher for the AHRC project ‘Meeting Margins: Transnational Art in Europe and Latin America 1950–78’ (University of Essex and University of the Arts London), and a Postdoctoral Fellow at the University of São Paulo (FAPESP). She has written extensively for publications such as e-flux, Third Text, Afterall, Brooklyn Rail Journal, Versión/sur, Revista de Occidente, Lugar Común, Stedelijk Museum Journal. She has also written for the São Paulo Museum of Art, Frans Hals Museum/De Hallen Haarlem, Valiz,L’international European Frame project, and the Reina Sofía Museum, among others. Íñigo was the Editor-in-Chief of issue #7 of the bilingual journal Revisiones titled: ‘Is it possible to decolonize? The South as interlocution’ (2017); and thejournal Art in Translation, edited by the University of Edinburgh (Taylor & Francis/Routledge), on Spanish visual culture and art during Francoism.

Daniel R. Quiles is Associate Professor and Chair of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, where he teaches courses on the theory and history of post-war art of the Americas. His research on Latin American conceptualism, video and television art has appeared in Art Journal, ARTMargins and Caiana in addition to edited volumes and exhibition catalogues, including ‘David Lamelas: A Life of Their Own, New Geographies of Abstract Art in Postwar Latin America’and the forthcoming Wiley-Blackwell Companion to Modern and Contemporary Latin American and Latina/o Art. He published a book-length interview with Jaime Davidovich as part of Fundación Cisneros’ ‘Conversations’ series. He is also an art critic who has written for Artforum, Art in America, and Texte zur Kunst, among other publications. He was a Critical Studies Fellow in the Whitney Independent Study Program, a Warhol Foundation Arts Writers Grantee, and Post-Doctoral Fellow in the Institut d’Histoire Moderne et Contemporaine at École Normale Supérieure in Paris.