David Frankel is editorial director in the publications department of The Museum of Modern Art in New York. He was previously senior editor at Artforum magazine, where he worked from 1981 to 1995. He writes regularly for Artforum and is a contributing editor there and at Aperture magazine.

Liz Kotz is a Los Angeles-based art critic and historian. She is the author of Words to be Looked At: Language in 1960s Art (MIT Press, 2007). She has published essays on many artists, including Amy Adler, Lutz Bacher, Phil Collins, Max Neuhaus, Lawrence Weiner, and La Monte Young. She teaches modern and contemporary art history at the University of California, Riverside.

Glenn Ligon is an artist and writer. His work has been exhibited at such venues as Regen Projects in Los Angeles, Thomas Dane Gallery in London, and Yvon Lambert Gallery in Paris. Articles he has written include "My Felix" (on Felix Gonzalez Torres) in Artforum (Summer 2007) and "Black light: David Hammons and the poetics of emptiness" in Artforum (September 2004).

Douglas McLennan is an arts journalist and critic and the founder and editor of ArtsJournal.com, the leading aggregator of arts journalism on the Internet. McLennan is also the director of the National Arts Journalism Program and is a frequent lecturer and writer on digital culture.

Andrea Scott is a senior editor at The New Yorker magazine. Her writing has appeared in The New Yorker, The New York Times, frieze, and Time Out New York, where she was the art editor from 2004 to 2007. From 1995 to 1999, Scott was the executive producer of the award-winning website adaweb.com, which produces medium-specific online projects with artists and institutions.

Ken Wissoker is the editorial director of Duke University Press. Authors he has published include Eve Kosofsky Sedgwick, Jane Gallop, B. Ruby Rich, Lauren Berlant, Rey Chow, and Arjun Appadurai. Wissoker is the author of the Chronicle of Higher Education as well as the articles "Scholarly Monographs Are Flourishing, Not Dying" and "Negotiating a Passage between Disciplinary Borders."

Eric Banks is a freelance critic and writer whose work has appeared in numerous newspapers and magazines, including The New York Times, the Financial Times, The Wall Street Journal, the Los Angeles Times, and The Chronicle of Higher Education. He was formerly the senior editor of Artforum, where his column “10/20/30/40” appeared, and editor-in-chief of Bookforum. He is a member of the board of directors of the National Book Critics Circle.

Huey Copeland is assistant professor of art history at Northwestern University. His research and teaching focus on modern and contemporary art with an emphasis on articulations of blackness in the visual field. During the 2008–2009 academic year, he was a scholar-in-residence at the Georgia O’Keeffe Museum Research Center, where he worked on a book that examines the aesthetic and political significance of slavery for postmodern artists of African descent.

Anthony Elms is the editor of WhiteWalls and assistant director of Gallery 400 at the University of Illinois at Chicago. His writings have appeared in ArtAsiaPacific, Art Papers, BAT, Cakewalk, Coterie, InterReview.org, New Art Examiner, and Time Out Chicago.

Bill Horrigan directs the media arts program at the Wexner Center for the Arts at Ohio State University in Columbus, where he has developed numerous film and gallery-based projects. His most recent project is Chris Marker: Staring Back, a photo exhibition subsequently shown in New York, Zurich, and Antwerp.

Liz Kotz (see above).

Gloria Kury is director of Gutenberg Periscope Publishing, Ltd., an independent press for art and architecture founded in 2007. She has a PhD in art history from Yale and has taught art history at the School of Visual Arts, New York University, Vassar College, and Yale University. She has also served as the director of the Yale Summer School of Music and Art in Norfolk, Connecticut.

Carrie Lambert-Beatty is an art historian. She is the author of Being Watched: Yvonne Rainer and the 1960s (MIT Press, 2008) and of articles on minimalism, postmodern dance, and contemporary art and activism. She is an editor of October magazine, and teaches in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies at Harvard University.

Elisa Leshowitz is the director of publisher services at Distributed Art Publishers. She works closely with D.A.P.'s publisher clients, which are among the finest international museums, galleries, and independent publishers producing books on the arts today.

James Meyer,is the Winship Distinguished Associate Professor of Art History at Emory University and a contributing editor of Artforum.

Thyrza Nichols Goodeve is a writer who teaches in the MFA program in art writing and criticism at the School of Visual Arts in New York. She also teaches in the MFA Digital + Media program at the Rhode Island School of Design and is program coordinator of the Maryland Institute College of Art’s MICA in NYC (DUMBO) summer intensive program in Brooklyn, New York. Goodeve has published in Artforum Parkett, Art in America, Artbyte, Guggenheim Magazine, The Village Voice, Tribeca Trib, and Camerawork.

David Pagel is an art critic who writes regularly for the Los Angeles Times. He is an associate professor of art theory and history at Claremont Graduate University and chair of the art department. He is also an adjunct curator at the Parrish Art Museum.

Gregory Volk is a New York-based art critic and freelance curator. He writes regularly for Art in America, where he is also a contributing editor. His articles and reviews have also appeared in many other publications, including Parkett and Sculpture. Among his recent contributions to exhibition catalogues are essays on Ayse Erkmen, Joan Jonas, Bruce Nauman, and Andy Warhol. Together with Sabine Russ, he has curated numerous exhibitions, including Carnival Within at Uferhallen in Berlin (2009). Volk is an associate professor in the School of the Arts at Virginia Commonwealth University.

Amei Wallach has written for The New York Times, Art in America, ArtNews, Aperture, Parkett, The Nation, Smithsonian, and Vanity Fair. Her numerous books and catalogue essays include Ilya Kabakov: The Man Who Never Threw Anything Away (Henry N. Abrams, 1996) and “Gees Bend: The Architecture of the Quilt and Crossroads: Art and Religion in American Life.” She was for many years the on-air arts essayist for The MacNeil/Lehrer Newshour and chief art critic for New York Newsday. Louise Bourgeois: The Spider, the Mistress and the Tangerine, the film portrait she co-directed with the late Marion Cajori, opened to international acclaim in 2008. Wallach is completing a documentary on the artists Ilya & Emilia Kabakov. She won an AICA Best Show curator’s award in 2006 for her exhibition Neo-Sincerity. She regularly organizes and participates in panels at U.S. and international museums, and is a past president of AICA.

Lydia Yee is a curator at Barbican Art Gallery in London, where her recent exhibitions include Robert Kusmirowski: Bunker (2009), Peter Coffin (2009), Huang Yong Ping: Frolic (2008), and Martian Museum of Terrestrial Art (2008, co-curated with Francesco Manacorda). She was also guest curator for Street Art, Street Life (2008) at the Bronx Museum of the Arts.