Karen Beckman is the Elliot and Roslyn Jaffe Professor of Cinema and Modern Media in the Department of the History of Art at the University of Pennsylvania. She is the author of Vanishing Women: Magic, Film, and Feminism (Duke University Press Books, 2003) and Crash: Cinema and the Politics of Speed and Stasis (Duke University Press Books, 2010), and iscoeditor (with Jean Ma) of Still Moving: Between Cinema and Photography (Duke University Press Books, 2008) and (with Liliane Weissberg) Picture This! Writing with Photography (forthcoming). She is currently editing a book entitled Animating Film Theory and writing a book entitled Animation and the Contemporary Art of War. She is an editor of the MIT journal Grey Room.

David Bonetti has been a visual arts critic and arts reporter for daily newspapers for twenty-five years. He was a staff writer for the Boston Phoenix, the San Francisco Examiner, the San Francisco Chronicle, and the St. Louis Post-Dispatch. He is currently writing, primarily opera reviews, for the website Berkshire Fine Arts. He has also written for such publications as ARTnews, Art in America, Contemporary, Art on Paper, and Art New England. He has taught art as an adjunct at Boston College, Brown University, the University of Massachusetts-Boston, and the San Francisco Art Institute.

Charlotte Higgins is the chief arts writer of the Guardian, contributing to the paper’s news, features, op-ed, literary, and arts sections, and writing the Charlotte Higgins On Culture blog. A classicist by education, she is the author of two books: Latin Love Lessons (HarperCollins, 2009) and It’s All Greek to Me: (HarperCollins, 2010). She is an associate member of the Corpus Christi College Centre for the Study of Greek and Roman Antiquity at the University of Oxford. Her next book is about Roman Britain.

Kobena Mercer is professor in the departments of History of Art and African American Studies at Yale University. An inaugural recipient of the Clark Prize for Excellence in Arts Writing (2006), he is the author of monographs on Isaac Julien, Rotimi Fani-Kayode, Keith Piper, and Renée Green, and the editor of Cosmopolitan Modernisms (MIT Press, 2005), Discrepant Abstraction (MIT Press, 2006), Pop Art and Vernacular Cultures (MIT Press, 2007) and Exiles, Diasporas & Strangers (MIT Press, 2008).

Helen Molesworth is the chief curator at the Institute of Contemporary Art/Boston (ICA). She was previously the head of the Department of Modern and Contemporary Art as well as the Houghton Curator of Contemporary Art at the Harvard Art Museum. She is the author of numerous articles for such publications as Artforum, Art Journal, Documents, and October. Her research areas are concentrated largely within and around the problems of feminism, the reception of Marcel Duchamp, and the socio-historical frameworks of contemporary art. Her most recent exhibition is Dance/Draw (2011) and she is currently at work on a major exhibition on art of the 1980s.

Eileen Myles is a poet and writer based in New York City. She has published over twenty books of poetry, fiction, nonfiction, plays, and libretti, including Inferno (a poet’s novel) (OR Books, 2010), Skies (Black Sparrow Press, 2001), Cool for You (Soft Skull Press, 2008), School of Fish (Black Sparrow Press, 1997), and Not Me (Semiotext(e), 1991). The Importance of Being Iceland: Travel Essays on Art (Semiotext(e), 2009) was awarded a Creative Capital | Warhol Foundation Arts Writers Grant. She contributes to numerous journals, including Art in America, Artforum, Parkett, Bookforum, the Nation, and the Believer.

Sina Najafi is editor-in-chief of Cabinet magazine and the editorial director of Cabinet Books. He has also curated or co-curated a number of exhibitions, including Philosophical Toys (Apex Art, 2005), The Museum of Projective Personality Testing (Manifesta 7, Trento, Italy, 2008), Odd Lots: Revisiting Gordon Matta-Clark’s Fake Estates (White Columns and Queens Museum of Art, 2005), and the traveling exhibition The Paper Sculpture Show (2003–2007). Najafi studied comparative literature at Princeton University, Columbia University, and New York University.

Jan Avgikos is an art historian and critic based in New York City and the Hudson River valley. She is a recipient of the Frank Jewett Mather Award for distinction in arts criticism given by the College Art Association. She is the author of numerous museum catalogue essays, as well as magazine articles and reviews published internationally over a twenty-year period in Artforum, Parkett, Artscribe, Contemporanea, Tate, and Flash Art, to mention a few, and has occasionally curated exhibitions, the most recent being I Am the Walrus (concerning clowns and clowning around in contemporary art) at Cheim & Read.

Colby Chamberlain is a Jacob K. Javits Fellow in the Department of Art and Archaeology at Columbia University. He is a senior editor for the online magazine Triple Canopy, a contributor to Artforum and Cabinet, and a 2011–2012 Helena Rubinstein Fellow in the Whitney Independent Study Program.

Greg Cook is the author of the blog The New England Journal of Aesthetic Research. Cook has also written about arts and culture for the Boston Phoenix, the Providence Phoenix, the Boston Globe, Art New England, the Poetry Foundation, and numerous other publications. His comics have appeared in the Believer, Publishers Weekly, and Nickelodeon Magazine. His graphic novel Catch As Catch Can (Highwater Books, 2001) won the Ignatz Award for Promising New Talent at Small Press (Comics) Expo in Maryland in 2002.

Iftikhar Dadi is an associate professor in the Department of History of Art and chair of the Department of Art at Cornell University. Research interests include postcolonial theory and modern and contemporary art. He is the author of Modernism and the Art of Muslim South Asia (University of North Carolina Press, 2010). Curated exhibitions include Tarjama/Translation (2008–2010), which showcased numerous artists from the Middle East, Central Asia, and their diasporas. As an artist he collaborates with Elizabeth Dadi and has shown widely internationally.

Allan deSouza is associate professor and chair of the New Genres Department at the San Francisco Art Institute. His work has been exhibited extensively in the U.S. and internationally, with recent solo exhibitions at the Fowler Museum, Los Angeles; Talwar Gallery, New York; the Phillips Collection, Washington, DC; and Yerba Buena Center for the Arts, San Francisco. His writings have been published in various journals, anthologies, and catalogues, including Third Text, Camerawork, and X-TRA, where he is a contributing editor.

Mark Feeney is an arts writer for the Boston Globe. He won the 2008 Pulitzer Prize for Criticism. He has taught at Princeton and Yale and currently teaches at Brandeis. The author of Nixon at the Movies: A Book About Belief (University of Chicago Press, 2004), he was a Clarice Smith Distinguished Lecturer at the Smithsonian American Art Museum in 2010.

Beth Finch is the Lunder Curator of American Art at the Colby College Museum of Art in Waterville, Maine. Her recent exhibitions include Art at Colby (2008), a museum-wide installation of the Colby Museum’s collection, Sharon Lockhart: Lunch Break (2010), and Will Barnet: Drawings and Prints, the 1930s (2010). She holds a PhD in art history from the Graduate Center, CUNY; her areas of expertise include American art after 1945 and the medium of drawing.

Klaus Kertess cofounded the Bykert Gallery in New York in 1966, and represented such artists as Chuck Close, Barry Le Va, Brice Marden, Dorothea Rockburne, Alan Saret, and Paul Sharits. He left the gallery in 1975 and subsequently published essays in Artforum, Parkett, and numerous other publications, and wrote monographs on Brice Marden, Joan Mitchell, Jane Freilicher, and Peter Hujar. He curated the 1995 Whitney Biennial and a number of de Kooning exhibitions and, in 2007, the inaugural exhibition for the Museum of Contemporary Art Detroit. In 2009 he received the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History from the Smithsonian’s Archives of American Art.

Elisabeth Leboviciis an art historian and critic. She currently lectures at Ecole des hautes études en sciences sociales (EHESS) and Sciences Po, Paris, and blogs at http://le-beau-vice.blogspot.com. For fifteen years, she was a culture editor at the French daily newspaper Libération. With Catherine Gonnard, she coauthored Femmes/artistes, artistes/femmes: Paris de 1880 à nos jours (Hazan, 2007), a history of women artists in France from 1880 to the present. Since the 1990s, Lebovici has been writing and lecturing on feminism, AIDS activism, queer politics, and contemporary art.

Steven Henry Madoff has served as senior critic at Yale University’s School of Art and is on the faculty of the School of Visual Arts in New York. He was executive editor of ARTnews from 1987 to 1994, where he remains a contributing editor, and has written on art for many publications, including Time, the New York Times, Artforum, and Modern Painters. His most recent books include Art School (Propositions for the 21st Century) (MIT Press, 2009) and Marina Abramovic: Balkan Epic (Skira, 2006), coauthored with Adelina von Fürstenberg. He is also the editor of Pop Art: A Critical History (University of California Press, 1997). His poems have been published widely and are gathered in the volume While We’re Here (Hard Press Editions, 1999). He is currently at work on a new book on the history and theory of interdisciplinary art.

Jaleh Mansoor teaches art history at the University of British Columbia. She also works as a critic for Artforum and is a frequent contributor to October, Texte zur Kunst, and, more recently, the Journal of Aesthetics and Protest. Mansoor wishes to occupy and dilate the relationship (and tension) between activism and scholarship. She has written many catalogue essays, including pieces on Blinky Palermo for Dia Art Foundation (2009) and Agnes Martin, also for Dia (2011). She has also produced monographic studies on Piero Manzoni, Ed Ruscha, and Mona Hatoum, among others. She coedited Communities of Sense: Rethinking Aesthetics and Politics (Duke University Press, 2010).

John Miller is an artist and writer based in New York and Berlin. He is also a professor of professional practice in Barnard College’s art history department. Le Magasin in Grenoble, the Kunstverein Hamburg, and the Kunsthalle Zürich have featured surveys of his work. He is the author of The Price Club: Selected Writings (1977–1998) (Les Presse Du Reel, 2000) and The Ruin of Exchange (JRP | Ringier, 2011).

Mark Nash is professor and head of the Department of Curating Contemporary Art at the Royal College of Art, London. He is a curator, film historian, and filmmaker, specializing in contemporary fine art moving image practices, and avant-garde and world cinema. Nash has curated the film element of several international exhibitions, including Force Fields: Phases of the Kinetic (2000), The Short Century: Independence and Liberation Movements in Africa, 1945–1994 (2001), and the Berlin Biennial (2004). He was co-curator of Documenta 11 (2002). Nash’s forthcoming curatorial projects include an exhibition, Ecologies of Image, at MUSAC, Spain (2012).

Martha Schwendener has written for the New York Times, the New Yorker, the Village Voice, Artforum, Art in America, Art Papers, New Art Examiner, Time Out New York, Flash Art, Bookforum, CAA.reviews, and other publications. She has taught at Hunter College, the University of Texas at Austin, Rhode Island School of Design, Tyler College of Art, Pratt Institute, the School of Visual Arts, and Fashion Institute of Technology (SUNY). She is currently a doctoral candidate in the art history department at CUNY’s Graduate Center.

Cameron Shaw is a New Orleans-based writer and the founding editor of the online regional publication Pelican Bomb. Her articles on art and culture have appeared on Artforum.com, East of Borneo, and Los Angeles Review of Books, as well as in BOMB Magazine, artUS, and SZ-Magazin. She has written for books about Marcel Dzama and Chris Ofili and was awarded a Creative Capital | Warhol Foundation Arts Writers Grant for short-form writing in 2009.

Lowery Stokes Sims is curator at the Museum of Arts and Design. She was formerly on the education and curatorial staff of the Metropolitan Museum of Art and served as executive director of the Studio Museum in Harlem. A specialist in modern and contemporary art, Sims is known for her writing and exhibitions on the work of African, Latino, Native, and Asian American artists.

T’ai Smith is an assistant professor in the Department of Art History, Theory & Criticism at Maryland Institute College of Art. She has published articles and reviews on design, craft, and media in various periodicals, including Grey Room, Art Journal, Journal of Modern Craft, and Texte zur Kunst, and catalogue essays for the Museum of Modern Art, New York. She is currently completing a book manuscript entitled Writing on Weaving: Bauhaus Theory for a Medium-Specific Craft, which considers theoretical writings by weavers, artists, and designers at and after the Bauhaus school in Germany. From 2004 to 2008 she was managing editor of Grey Room