CONTRIBUTORS - IA de Investigación especializada en el MIT

CONTRIBUTORS

Bani Abidi is a Pakistani visual artist living
between Berlin and Karachi. Encompassing
video, photography, and performance, Abidi’s
practice draws on everyday as well as historical
events to explore issues of nationalism and
state power. She has had solo shows at the
Museum of Contemporary Art, chicago, y
Gropius Bau, Berlina, among others, and group
shows at the 8th Berlin Biennial, el
Guggenheim Museum, Nueva York, and docu-
menta 13, Kassel.

Alexander Alberro teaches modern and con-
temporary art history at Barnard College and
Columbia University. He is the author of
Conceptual Art and the Politics of Publicity
(2003) and Abstraction in Reverse: El
Reconfigured Spectator in Mid-Twentieth-Century
Latin American Art (2017).

jennifer Bajorek teaches literature, arte, y
visual culture at Hampshire College. She is the
author of Unfixed: Photography and Decolonial
Imagination in West Africa (2020). Her current
research is on visual and discursive represen-
tations of im/migration in contemporary
Francia. Desde 2013, she has been a research
associate at the University of Johannesburg,
and she is a visiting researcher in the
Laboratoire d’Anthropologie Politique, a través de
the Fondation Maison des Sciences de
l’Homme, at EHESS, París.

joshua I. Cohen teaches art history at the City
College of New York and the CUNY Graduate
Center. His first book, The “Black Art”
Renacimiento: African Sculpture and Modernism
across Continents (2020), received honorable
mention for the Modernist Studies Association
First Book Prize. His current book project, ten-
tatively titled Art of the Opaque: African
Modernismo, Decolonization, and the Cold War, es
a critical study of modernism between Africa
and its diaspora in the international contexts of
decolonization and the global Cold War.

Tammer S. El-Sheikh is a writer, crítico, y
professor of art history at York University in
toronto. His major publications include
Entangled Bodies: Arte, Identity and
Intercorporeality (2020), “Draw Me a Sheep!
Contemporary Responses to the Histories of
Art Education, Surrealism and Psychoanalysis
in Egypt” (2017), and “Six Characters and an
Anthropologist: Form and Information in
Three Works by Hassan Khan” (2013). Su
reviews, art criticism, and essays have
appeared in Arab Studies Journal, canadiense
Arte, Parachute, Border Crossings, and Black
Destello, as well as online at Momus.ca and
Akimbo.ca and in the catalogs of exhibitions
both in Canada and abroad.

vishal Khandelwal is a postdoctoral fellow
in the Department of History of Art and
Architecture at Harvard University. His cur-
rent book manuscript analyzes design and art
pedagogy and practice at the National Institute
of Design in India, through the work of key
individuals who, entre 1955 y 1985,
taught visual communication, textile design,
architecture, and product design at this experi-
mental design school and at other academies
in Ahmedabad and beyond. Khandelwal’s
research and writing have been supported by
the Graham Foundation for Advanced Studies
in the Fine Arts, the Rockefeller Archive
Center, the Decorative Arts Trust, y el
University of Michigan, ann-arbor. His article
“Nelly Sethna and the Reception of Textiles
between the United States and India” (2021)
was published in The Journal of Modern Craft.

Sonal Khullar teaches in the Department of
the History of Art at the University of
Pensilvania. She is the author of Worldly
Affiliations: Artistic Practice, National Identity,
and Modernism in India, 1930–1990 (2015) y
the editor of Old Stacks, New Leaves: The Arts of
the Book in South Asia (2023).

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Ijlal Muzaffar teaches in the Department of
Theory and History of Art and Design at the
Rhode Island School of Design. He has written
extensively on the intersection of modern archi-
tecture and Third World development dis-
courses. His current research looks at how
modern architectural framings of local materi-
como, self-help, and climatically responsive build-
ings helped bypass the central dilemma of
mid-20th century decolonial world order: how to
make plausible the idea of spontaneous Third
World development without accounting for cen-
turies of capital drain under colonial rule.

Foad Torshizi teaches in the Department of
Theory and History of Art and Design at the
Rhode Island School of Design. His areas of
research are global contemporary art, contem-
porary Iranian and Middle Eastern art, postco-
lonial theory, the ethics of readership, y el

politics of translation and interpretation. Su
writing has appeared in books and academic
journals in both the United States and Iran,
including Grey Room; Comparative Studies of
South Asia, Africa and the Middle East; Iranian
Estudios; and Herfeh: Honarmand.

vazira Zamindar teaches in the Department
of History at Brown University. She is the
author of The Long Partition and the Making of
Modern South Asia: Refugees, Boundaries,
Histories (2007) and a coeditor of Love, Guerra
and Other Longings: Essays on Cinema in
Pakistán (2020) and How Secular Is Art? On
the Politics of Art, History and Religion in South
Asia (2023). She founded the discussion
forum Art History from the South (2018–20)
and collaborates with the Decolonial Initiative
on Migration of Objects and People at Brown
Universidad.