Douglas Crimp is Fanny Knapp Allen Professor of Art History at the University of Rochester. He was an Editor at October (1977-1990), and is the author of Melancholia and Moralism: Essays on AIDS and Queer Politics (MIT Press, 2002), On the Museum's Ruins (MIT Press, 1993), and AIDS Demo Graphics (Bay Press, 1990).

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 Art Asia Pacific, Art Papers, BAT, Cakewalk, Coterie, InterReview.org, New Art Examiner, and Time Out Chicago.

Okwui Enwezor is the Dean of Academic Affairs at the San Francisco Art Institute and Adjunct Curator at the International Center of Photography. He was the Artistic Director of Documenta 11, and received the 2006 Frank Jewett Mather Award for Criticism from the College Art Association.

Sylvie Fortin is the Editor-in-Chief of Art Papers. She is an independent curator, art historian, and critic who worked as Curator of Contemporary Art at the Ottawa Art Gallery (1996-2001). Her critical essays and reviews have appeared in Art Press, C Magazine, Espace, Fuse, Nka: Journal of Contemporary African Art, and Parachute.

Tim Griffin has been the Editor-in-Chief of Artforum since 2003. He is the author of Contamination (Alberico Cetti Serbelloni, 2002), a collection of essays on art, architecture, design, technology, and fashion, written in collaboration with Peter Halley.

Judith Rodenbeck is the Editor-in-Chief of Art Journal and holds the Noble Foundation Chair in Art and Cultural History at Sarah Lawrence College. She is co-author (with Benjamin Buchloh) of Experiments in the Everyday: Allan Kaprow and Robert Watts &mdash Events, Objects, Documents (Miriam and Ira D. Wallach Art Gallery, 2000).

Carol Armstrong is Doris Stevens Professor of Women's Studies in the Department of Art and Archaeology at Princeton University. She is the author of Scenes in a Library: Reading the Photograph in the Book, 1843-1875 (MIT Press, 1998) and edited (with Catherine de Zegher) Women Artists at the Millennium (MIT Press, 2006).

Laura Auricchio is an Assistant Professor at Parsons The New School For Design. Her book, A Woman Artist of the French Revolution: Adélaïde Labille-Guiard, will be published by J. Paul Getty Museum in 2008. She has written articles for Art Bulletin and Art Journal; her reviews appear regularly in Art Papers and Time Out New York.

Romi Crawford is the Director of Education at the Studio Museum in Harlem. She was previously Assistant Professor and Director of the Visiting Artists Program at the School of the Art Institute of Chicago. She has published in Art Journal and Frequency.

Hannah Feldman is an Assistant Professor at Northwestern University. Her articles and essays have been published in October, Contemporary, World Art, caa.reviews, and Art Journal, where she is a member of the editorial board.

Sylvie Fortin (see above).

Anjali Gupta is an Editor of ArtLies, a contemporary art quarterly. She is also an independent critic and video producer based in San Antonio, Texas.

Laura Steward Heon is the Director and Curator of SITE Santa Fe. Prior to holding this position, she was Curator at MASS MoCA, where she co-organized Mona Hatoum: Domestic Disturbance (2001) with SITE Santa Fe and Proposition Player (2004) with Houston Contemporary Art Museum.

Karin Higa is a Senior Curator at the Japanese American National Museum in Los Angeles. She has written on artists Ruth Asawa, Sam Durant, and Lincoln Tobier. She received the Peter and Eileen Norton Curator's Grant in 2000.

Jeffrey Kastner is a writer and Senior Editor of Cabinet magazine. He is a regular contributor to Artforum; his writing has also appeared in The Economist, Frieze, and The New York Times. He is the editor of Land and Environmental Art, published by Phaidon Press.

Ines Katzenstein is Curator at Malba-Coleccion Costantini in Buenos Aires, Argentina, and editor of Listen, Here, Now! Argentine Art in the 1960s (Museum of Modern Art, 2004)

Miwon Kwon is an Associate Professor at UCLA. She was a founding Editor and Publisher of Documents, a journal of art, culture, and criticism (1992-2004), and is the author of One Place After Another: Site-Specific Art and Locational Identity (MIT Press, 2002).

Pamela M. Lee is an Associate Professor at Stanford University and is the author of Object to be Destroyed: The Work of Gordon Matta-Clark, and Chronophobia: On Time in Art of the 1960s, both published by MIT Press.

Kathleen Madden is a former Commissioning Editor for Contemporary Art at Phaidon Press in London, and a PhD candidate at the University of Wales, Newport, where she is working on late-1960s Conceptual art.

Richard Meyer is an Associate Professor at the University of Southern California. His book, Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art, was published by Oxford University Press in 2002.

Helen Molesworth is Curator of Contemporary Art at the Harvard University Art Museums. She was Chief Curator of Exhibitions at the Wexner Center for the Arts in Ohio. She edited Twice Untitled and Other Pictures (looking back) by Louise Lawler (MIT Press, 2006), and contributed to WACK! Art and the Feminist Revolution (MIT Press, 2007).

Kate Morris is an Assistant Professor at Santa Clara University in California and serves on the board of directors of the Native American Art Studies Association. She is working on a book, Picturing Sovereignty: Native American Art in the Postmodern Era.

Ted Purves is an artist and writer. He is also an Assistant Professor at California College of the Arts. His book, What We Want Is Free: Generosity and Exchange in Recent Art, was published by SUNY Press.

Judith Rodenbeck (see above).

Andrea K. Scott is an editor at The New Yorker. Previously she was the Arts Editor at Time Out New York and contributed reviews regularly to The New York Times.

Barry Schwabsky is a regular contributor to Artforum. He is the author of The Widening Circle: Consequences of Modernism in Contemporary Art (Cambridge University Press, 1997), and Opera: Poems 1981-2002 (Meritage Press, 2003).

Bennett Simpson is Associate Curator at the Museum of Contemporary Art, Los Angeles, and a regular contributor to Artforum and Texte zur Kunst. He recently completed an exhibition and book-length monograph surveying the photographs of Philip-Lorca diCorcia.

Michele White is an Assistant Professor of New Media Studies at Tulane University. Her book, The Body and the Screen: Theories of Internet Spectatorship, was published by MIT Press in 2006.