Elizabeth Baker was editor-in-chief from 1973 to 2008 at Art in America magazine, where she is currently editor-at-large for special projects. She was previously managing editor of Art News. She has taught art history at Boston University, Wheaton College, and the School of Visual Arts, and has written on various aspects of contemporary art.

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 is 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.

Darby English is associate professor of art history at the University of Chicago, where he has taught modern and contemporary American art and cultural studies since 2003. He is affiliated faculty in the Department of Visual Arts, the Center for Gender Studies (CGS), the Center for the Study of Race, Politics, and Culture (CSRPC), and a member of the boards of the Franke Institute for the Humanities and the Scherer Center for the Study of American Culture. English is the author of How to See a Work of Art in Total Darkness (MIT Press, 2007) and co-editor of Kara Walker: Narratives of a Negress (originally MIT Press, 2003; republished Rizzoli, 2007). He is the recipient of fellowships and awards from the College Art Association, the Sterling and Francine Clark Art Institute, and the Andy Warhol Foundation for the Visual Arts. In 2009 the latter awarded English an Arts Writers Grant for his current book project, tentatively titled Abstracts of Intimacy, which studies cultural experiments with modernist art during the late 1960s and early 1970s.

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.

Paddy Johnson’s writing has been published in The Economist, artreview.com, FlashArt, Print Magazine, Time Out New York, The Reeler, artkrush, Boldtype, Art & Australia, Flavorpill, NYFA Current, and Fanzine. Her Art Fag City blog is linked to such publications as The New York Times, The Wall Street Journal, New York Magazine, BoingBoing, the New York Observer, the Huffington Post, Gawker, the Design Observer, Make Magazine, and we-make-money-not-art. Johnson received an MFA from Rutgers University.

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.

Adrian Searle has been chief art critic for The Guardian since 1996. He began writing in 1976 for Artscribe magazine and continues to contribute to frieze and other art journals. He also writes for El Mundo in Spain and has recently edited the writings of Juan Muñoz. Searle has curated several exhibitions in the U.K., Europe, and the U.S., and is currently visiting professor at the Royal College of Art in London.

Laura Auricchio is an assistant professor at Parsons The New School For Design. Her book, Adélaïde Labille-Guiard: A Woman Artist of the French Revolution was published by J. Paul Getty Museum in 2009. She has written articles for Art Bulletin and Art Journal; her reviews appear regularly in Art Papers and Time Out New York.

Thomas Beller is a founder and co-editor of Open City Magazine, and the creator of the website Mr. Beller’s Neighborhood (http://www.mrbellersneighborhood.com/). He is the author of two works of fiction, Seduction Theory and The Sleep-Over Artist, and a collection of essays, How To Be a Man (all from W.W. Norton). His most recent book, Lost and Found: Stories From New York, is an anthology of essays collected on his website. He currently divides his time between upstate New York and New Orleans, where he teaches creative writing at Tulane University.

Nayland Blake is an artist and educator. His work is included in the collections of many museums world wide, including The Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He currently is the chair of the ICP-Bard MFA program.

David Bonetti has been a newspaper art critic and reporter since the early 1980s. He has worked for the Boston Phoenix, the San Francisco Examiner, the San Francisco Chronicle, and, most recently, the St. Louis Post-Dispatch, which he left in 2009. He has also written for a number of national magazines and has taught at Brown University, Boston College, and the San Francisco Art Institute.

Lauren Cornell is executive director of Rhizome and adjunct curator at the New Museum of Contemporary Art. At Rhizome, she oversees and develops the organization’s programs, all of which serve to promote emerging forms of media art.

Mónica de la Torre is senior editor at BOMB Magazine and a poet and essayist whose main focus is Latin American conceptual art and writing. She is co-author of the artist book Appendices, Illustrations, and Notes (Smart Art Press) and author of three books of poetry, the most recent of which is Public Domain (Roof Books, 2008). She received a 2009 NYFA fellowship in poetry.

Joshua Decter has been a critic and curator since the late 1980s. He is currently the director of the Master of Public Art Studies Program (Curatorial Practices in the Public Sphere) at the USC Roski School of Fine Arts in Los Angeles. He contributes to Artforum, Afterall, and other periodicals. Decter has organized exhibitions at P.S.1 in New York, the Center for Curatorial Studies/Hessel Museum of Art at Bard College, Apex Art in New York, the Kunsthalle Vienna, and the Santa Monica Museum of Art. He has contributed essays to numerous exhibition catalogues over the past twenty years.

Mia Fineman is senior research associate in the Department of Photographs at the Metropolitan Museum of Art. Since joining the Metropolitan in 1997, she has organized numerous exhibitions, including On Photography: A Tribute to Susan Sontag (2006) and Reality Check: Truth and Illusion in Contemporary Photography (2008). She writes about art and culture for various publications, including The New York Times and Slate.

Glen Harper, editor of Sculpture magazine, was formerly editor of Art Papers. He has written for Aperture, Artforum, Public Art Review, Afterimage, Exit Express, and for books on the works of artists John Van Alstine, Athena Tacha, and others. He is the editor of Interventions and Provocations: Conversations on Art, Culture, and Resistance and co-editor of A Sculpture Reader: Contemporary Sculpture Since 1980, Conversations on Sculpture, and Landscapes for Art: Contemporary Sculpture Parks.

Suzanne Hudson is a New York-based art historian and critic. She is the author of Robert Ryman: Used Paint (MIT Press, 2009). Her writing has appeared in numerous publications, including Artforum, Flash Art, Parkett, Art Journal, and October. She teaches modern and contemporary art history at the University of Illinois.

Branden W. Joseph is Frank Gallipoli Professor of Modern and Contemporary Art in the Department of Art History and Archaeology at Columbia University and a founding editor of the journal Grey Room. He is the author, most recently, of Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008).

Judith Russi Kirshner is the dean of the College of Architecture and the Arts at the University of Illinois at Chicago. She published “Voices & Images of Italian Feminism” in Wack! Art and the Feminist Revolution (Museum of Contemporary Art, 2007). She contributes reviews to Art in America, Artforum, and frieze, and has written on a range of artists, including Dara Birnbaum, Marlene Dumas, Roni Horn, Yayoi Kusama, and Karen Reimer. She has also written catalogue essays for exhibitions on artists Ann Wilson, Carol Rama, Julia Fish, and Christina Ramberg. She has served as a curator at both the Terra Museum of American Art and the Museum of Contemporary Art in Chicago.

Jennifer Liese edits books for museums, non-profits, and publishers, including The Museum of Modern Art, Performa, and Phaidon Press. She was managing editor of Artforum (2000–2004) and is a contributing editor of Cabinet. She currently runs the Writing Center at Rhode Island School of Design, where she also teaches graduate seminars focused on artist writings.

Hilarie Sheets is a New York-based critic and contributing editor to ARTnews magazine. She writes regularly for The New York Times, Art+Auction, Town & Country, Art in America, and other publications.

Frazer Ward teaches the history of contemporary art and architecture at Smith College. He has published widely on art since the 1960s; his writing has appeared in journals including Art & Text, Art Journal, Cinema Journal, Documents, frieze, and October, as well as in catalogues and edited collections.

Alexi Worth, an artist and writer, is a senior critic at the University of Pennsylvania’s MFA program. Since 1995, he has written reviews and feature articles for The New Yorker, Artforum, Art in America, ARTnews, Slate, BOMB, and other publications. A coauthor of James Hyde (Les Filles du Calvaire, 2004), Worth recently wrote an introduction to David Humphrey’s Blind Handshake (Periscope, 2009).

Elvan Zabunyan is a contemporary art historian and art critic based in Paris. She is associate professor at the Rennes University (Britanny, France), chair of the art history department and director of the curatorial program. She published many essays on contemporary visual arts and wrote Black is a Color: A History of Contemporary African American Art (Dis Voir, 2004), published in English in 2005. She is also working on feminist art and theories at the turn of the 1970s and on the connection between history of contemporary art and postcolonialism.