Bernard Akoi-Jackson
is a Ghanaian artist whose multidisciplinary installations and performances revolve around his notion of ‘disturbed methodologies’. His work critiques post- and de-coloniality while investigating quotidian gestures and language. He has exhibited internationally and holds a PhD in Painting and Sculpture from KNUST, Kumasi, where he lectures on the revolutionary potential of contemporary art. He curated the inaugural exhibition at the Savannah Centre for Contemporary Art (SCCA), Tamale, and co-curated the inaugural Stellenbosch Triennale.
Katherine L. Bruhn
is Assistant Professor of Global Art and Visual Culture at Illinois State University. She specializes in modern and contemporary Southeast Asian art, with a geographic focus on Indonesia. Her current book project investigates how cosmological thinking and ecological knowledge shape the work of artists associated with the Minangkabau ethnic group. She received her PhD in Southeast Asian Studies from the University of California, Berkeley.
Benjamin H. D. Buchloh
is an art historian, a critic, and an editor of October. He is the Andrew W. Mellon Research Professor of Modern Art and Contemporary Art at Harvard University’s Faculty of Arts and Sciences, where he taught from 2005 to 2022. Buchloh’s monographic study of the work of Gerhard Richter was published by MIT Press in 2023. A selection of his essays on American and European artists of the post-WWII period was released in two volumes, Neo Avantgarde and Culture Industry (MIT Press, 2006), and Formalism and Historicity (MIT Press, 2016). He is currently preparing a third volume, Refuse and Refuge, for publication. Buchloh was awarded the Golden Lion for Contemporary Art History and Criticism at the Venice Biennale in 2007.
Emily Ruth Capper
is assistant professor of Art History and affiliate faculty in the Program in Moving Image, Media, and Sound at the University of Minnesota. Her research explores modern and contemporary installation, performance, and media art in ways that forge linkages with overlooked intellectual, social, and institutional histories. Her first book, Happening Pedagogy: Allan Kaprow’s Experiments in
Nicola Foster
is an Associate Professor at the University of Suffolk, where she is leading creative practice research students in visual arts. Her academic background is in philosophy and visual culture and her publications make use of both academic disciplines. She has published widely on contemporary curatorial practices, contemporary art, and the reception of Nüshu in China and the West. She was a Trustee of the Association for Art History. She served on the Editorial Board of Women’s Philosophy Review and jar (Journal of Artistic Research). She is a member of the Arts and Humanities Research Council (AHRC) Peer Review College.
Tom Holert
works as an in(ter)dependent scholar and curator with a focus on the politics and spatiality of knowledge in art and culture. He authored and co-authored various books and organized several exhibitions—such as Neolithic Childhood. Art in a False Present, c. 1930 (with Anselm Franke, Diaphanes, 2018), and Education Shock. Learning, Politics and Architecture in the 1960s and 1970s (De Gruyter, 2021), both at Haus der Kulturen der Welt, Berlin. In 2015 he co-founded the Harun Farocki Institut in Berlin (harun-farocki-institut.org). Recent book publications: Navigation beyond Vision (ed. with Doreen Mende, Sternberg Press, 2023), ca. 1972. Gewalt – Umwelt – Identität – Methode (Spector, 2024), Kunst und Politik – zur Einführung (Junius, 2026).
Erika Kindsfather
is an art historian and material culture studies scholar based in Montreal. She is a PhD candidate in Art History with a concentration in Gender and Women’s Studies at McGill University, where she specializes in modern and contemporary textiles, sculpture and design in North America. Her dissertation examines the history of plastics in art and everyday material culture, addressing the entanglements of the chemical industry and the art world. Her research has been published in journals such as the Canadian Art Review and is funded by the Fonds de recherche du Québec.
is an art historian and curator based in Seoul. She is engaged in research and curatorial projects focusing on modern and contemporary art in East Asia, with a particular interest in transnational exhibition practices and the formation of Asian subjectivities. She is currently the editorial fellow for MMCA Korea and Stedelijk Museum of Art, and teaches at Seoul National University. Her recent curatorial projects include Walking Korea: Cut Pieces (Seoul, 2024–2025), the 14th Gwangju Biennale (Gwangju, 2023), and To a Faraway Friend: Beyond Afro-Southeast Asian Affinities (Busan, 2022). She earned her BA in History of Art from the University of Cambridge, followed by an MA and PhD from the Courtauld Institute of Art in London.
Sandra Neugärtner
is an art historian whose research explores institutional critique and the nexus of art, labor, and social change. She is the author of Statt Farbe: Licht. Das Fotogramm bei Moholy-Nagy als pädagogisches Medium (Gebr. Mann, 2021). Her forthcoming second monograph, the first devoted to the Bauhaus artist Léna Meyer-Bergner, stems from her DFG-funded habilitation project and repositions the applied arts as a key site for the reorganization of artistic labor and production in the modern era. Her scholarship has been supported by international fellowships at Harvard University and the Kunsthistorisches Institut in Florenz – Max Planck Institute.
Isabel Nogueira
specializes in Portuguese contemporary art since the 1960s, a field she explores as a contemporary art historian, critic, and professor. She is a professor and principal researcher at the Faculty of Fine Arts of the University of Lisbon and the National Society of Fine Arts, where she also directs the academic publication Arte e Cultura Visual. After receiving her PhD from the University of Lisbon, she completed postdoctoral research at Paris 1 Panthéon-Sorbonne. Her recent books include Teorias da arte (Book Builders, 2019), História da arte em Portugal (Book Builders, 2021), and Histoire de l’art au Portugal (1968–2000) (L’Harmattan, 2022).
Noa Sadka
is an artist, photographer, writer, researcher, curator, and a lecturer at the Department of Photography at Bezalel Academy, Jerusalem, from where she herself graduated with a BFA in Photography in 1995. She continued her studies as a participant at the Rijksakademie in Amsterdam (1997–1998). Noa Sadka has earned numerous awards, including the Minister of Culture Award
Jeffrey Saletnik
is Associate Professor of Modern Art at Indiana University Bloomington. His publications include Bauhaus Construct: Fashioning Identity, Discourse, and Modernism (Routledge, 2009), a volume co-edited with Robin Schuldenfrei; a special issue of the journal Art in Translation on the theme of “Translation and Architecture,” co-edited with Karen Koehler; and Josef Albers, Late Modernism, and Pedagogic Form, a monograph (University of Chicago Press, 2022).
Marie-Christine Schoel
is a PhD candidate at the University of Münster, Germany, where her research focuses on Judy Chicago’s work of the 1960s. The dissertation investigates how Chicago’s artistic techniques and materials across various media articulate gendered experience through tactile, phenomenological, and perceptual dimensions of embodiment, sexuality, and materiality. She is a Cusanuswerk Foundation fellow and has received research support from the Terra Foundation for American Art, the German Academic Exchange Service, and the German Historical Institute London (Max Weber Foundation).
Rebecca Sprowl
is an artist and educator. She has been a secondary school visual arts teacher since 2006 and has taught in a diverse range of international schools in the United States, Thailand, Australia, Gabon, England, and Austria. She completed her PhD in Cultural Studies at the Academy of Fine Arts Vienna in 2023. Her primary research area is in art pedagogy and artist-teachers, exploring the layered relationship between teaching and artmaking. She is especially interested in experimental and innovative pedagogical practices that can inform contemporary art education.
Jake Watts
is an artist and educator. He is a lecturer in contemporary Art theory at the University of Edinburgh and is currently the programme director of the BA(Hons) Fine Art degree. He is also course organizer of Art as Process: Ways of Learning, Making, Thinking Together which adapts and re-enacts notable instances of historical and contemporary art education through experimental and historiographic learning activities and has been acting programme