CONTRibuTORS

Tom Nicholson is an artist who lives and
works in Melbourne, 澳大利亚. His work has
been included in a number of significant
international exhibitions and biennials,
including Animism at Extra City; MUHKA
in Antwerp; To the Arts, Citizens! 在
Serralves Museum in Porto; Zones of
Contact; 这 2006 Sydney Biennale; 这 2010
Shanghai Biennale; 和 2012 Adelaide
Biennial of Australian Art.

Daniel R. Quiles is an assistant professor in
the Department of Art History, 理论, 和
Criticism at the School of the Art Institute of
芝加哥, where he teaches courses on the
postwar art of the Americas. He is currently
completing a book manuscript titled Ghost
Messages: Oscar Masotta and Argentine
Conceptualism. He is also an art critic who
writes for Artforum, Burlington Magazine, 和
other magazines.

Magda Radu is a curator and art historian
based in Bucharest. 在 2013 she curated the
exhibition Geta Bra˘tescu: The Artist’s
Studios at the Museo de Arte Contemporáneo
de Castilla y León (MUSAC). She is the editor
of André Cadere/Andrei Ca˘ dere (2011).
Together with the artist Alexandra Croitoru
she runs the curatorial program “Salonul de
proiecte,” supported by the National Museum
of Contemporary Art, Bucharest (MNAC).

Stephanie Schwartz is a lecturer in the
History of Art Department at University
College London. She is currently completing
Cuba Per Diem: Walker Evans and American
Photographs, a book-length study of Walker
Evans’s 1933 Cuba portfolio. Her study of the
intersection of media and politics in the
1930s informs her research on contemporary
Cuban art. Her writing on photography and
mass media has appeared in Third Text,
Oxford Art Journal, and Philosophy of
摄影.

Osvaldo de la Torre is visiting assistant
professor of Hispanic Studies at Austin
大学. His research focuses on the relation
between poetry and politics in the Southern
Cone, specifically in Chile’s dictatorial and
postdictatorial contexts. He has articles
appearing or forthcoming in Hispanófila,
Confluencia, CR: The New Centennial Review,
and Modernist Cultures.

Andrew Stefan Weiner currently teaches in
the Curatorial Practice M.A. Program at the
California College of the Arts. He received
his PhD in the Department of Rhetoric at
UC Berkeley, where his dissertation con-
cerned the relation between aesthetics and
politics in West Germany and Austria circa
1968, focusing on the category of the event.
He has contributed essays on contemporary
art to publications including Grey Room,
Texte zur Kunst, Afterall, and Parkett and is
currently editing a collection of essays on the
emergence of the “discursive exhibition.”

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