ConTRIbuToRS

Iftikhar Dadi and Elizabeth Dadi collaborate
on an art practice that investigates memory,
边界, and identity in contemporary global-
化, the productive capacities of urban
informalities in the Global South, 和
mass culture of postindustrial societies.
Selected exhibitions include Homelands, 在
Kettle’s Yard, University of Cambridge (2019–
20), and previous exhibitions at the Havana
Biennial (2019), Lahore Biennale (2018),
Jhaveri Contemporary, Mumbai (2015 和
2018), Dhaka Art Summit (2016), and Office
of Contemporary Art Norway, Oslo (2017).
Iftikhar Dadi teaches in the Department of
History of Art at Cornell University. He is the
author of Modernism and the Art of Muslim
南亚 (2010) and has coedited Unpacking
欧洲: Towards a Critical Reading (2001).

Meghan Forbes is a Postdoctoral Fellow in
the Leonard A. Lauder Research Center for
Modern Art at the Metropolitan Museum
of Art in New York. She is the editor of
International Perspectives on Publishing
Platforms: 图像, 目的, Text (2019) 和
co-curator of BAUHAUS↔VKhUTEMAS:
Intersecting Parallels (2018).

Aamir R. Mufti was born and raised in
Karachi, 巴基斯坦, and teaches in the
Department of Comparative Literature at
UCLA. He is the author, 最近, 的
book Forget English! Orientalism and World
Literatures (2016), and is coediting a special
issue of the journal Boundary 2 on the return
of fascism in the Euro-American world.

Caterina Preda teaches in the Department
of Political Science at the University of
Bucharest. She is the author of Art and Politics
under Modern Dictatorships (2017) and editor of
The State Artist in Romania and Eastern Europe:
The Role of the Creative Unions (2017). Her cur-
rent research project (2018–20) deals with the
artistic memorialization of dictatorships in
South America and Eastern Europe.

Ghalya Saadawi teaches at the Centre for
Research Architecture in the Department of
Visual Cultures at Goldsmiths, 大学
伦敦, and at the Dutch Art Institute, ArtEZ
University of the Arts. Her recent research has
focused on the possibility of a critical contem-
porary art protocol that also encompasses the
histories of unionization, 法律, and regulation
in contemporary art. She is coeditor of
Makhzin and is affiliated with the Beirut
Institute for Critical Analysis and Research
(BICAR).

Lauren Taylor teaches in the Department
of Art History at the University of California,
天使们, where she recently defended her
dissertation “The Art of Diplomacy in Dakar:
The International Politics of Display at the
1966 Premier Festival Mondial des Arts
Nègres.” Her writing has appeared in World
Art, Art Journal, and the forthcoming Getty
Research Institute anthology Visualizing
帝国: 非洲, 欧洲, and the Politics of
Representation.

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