Natasha Becker is the Curator of African Art at the de Young Museum in San Francisco. Prior to joining the museum in 2020, she organized numerous exhibitions as an independent curator and spearheaded international initiatives as the Assistant Director of Mellon Initiatives at the Clark Art Institute in Williamstown, MA. She is the cofounder of two collaborative curatorial platforms: Assembly Room in New York City and The Underline Show in Johannesburg. Becker has served as curatorial adviser for the Face Foundation and co-curator at the Ford Foundation Art Gallery. She is focused on artists from Africa and the African diaspora with a distinct interest in women artists and centering social justice within the contemporary art dialogue. ‘Perilous Bodies’ and ‘Radical Love’, two recent group shows held at the Ford Foundation Art Gallery, wove together the perspectives of 42 international artists on issues of social violence, justice, and liberation. At the Osage Foundation in Hong Kong, she co-curated ‘Present Passing: South by Southeast’ with Patrick Flores, the renowned Filipino curator and art historian, to explore equivalent articulations of the Southeast through South Africa and the Caribbean. Becker was born and raised in Cape Town, South Africa.
Estrellita B. Brodsky
Estrellita Brodsky is a New York-based curator, art historian, philanthropist and advocate of art from Latin America. Brodsky holds a doctorate in art history from the Institute of Fine Arts, New York University. She curated the first U.S. museum survey of Julio Le Parc ‘Form into Action’ at the Pérez Art Museum Miami (PAMM) (2016-2017); the first U.S. retrospective of the Venezuelan kinetic artist Carlos Cruz-Diez ‘(In)formed by Color’ at the Americas Society, New York (2008); and ‘Jesus Soto: Paris and Beyond, 1950-1970’ (2012) at the Grey Art Gallery, New York University. In 2015, Brodsky founded ANOTHER SPACE, a program and exhibition space in New York City dedicated to broadening international awareness of artists from Latin America and of Latin American descent.
Miguel A. López
Miguel A. López is a writer, researcher, and curator. Between 2015 and 2020, he worked at TEOR/éTica, in Costa Rica, first as chief curator and, from 2018, as co-director and chief curator. Recent curatorial projects include: ‘and if I devoted my life to one of its feathers?’ at Kunsthalle Wien, Vienna (2021); ‘Cecilia Vicuña, a Retrospective Exhibition’ at Witte de With, Rotterdam (2019) and MUAC-UNAM, Mexico City (2020); co-curated ‘Virginia Pérez-Ratton. Central America: Desiring a Place’ at MUAC, Mexico City, (2019); ‘Victoria Cabezas and Priscilla Monge: Give Me What You Ask For’ at the Americas Society, New York (2019); and ‘Social Energies/Vital Forces. Natalia Iguiñiz: Art, Activism, Feminism (1994–2018)’ at ICPNA, Lima (2018). Recent books include: Ficciones disidentes en la tierra de la misoginia (Dissident Fictions in the Land of Misogyny) (2019), and Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Stealing History: Counter-narratives and Oppositional Art Practices (2017). His writing has appeared in Afterall, Artforum, Art in America, e-flux journal, and Manifesta Journal, among others. López is also a co-founder of the independent art space Bisagra, active in Peru since 2014.
José Falconi is a Lecturer in the Department of Art History and Architecture at Brandeis University (2014-2020), at Boston University from 2016, and was recently appointed Professor of Art and Human Rights at the University of Connecticut. In Latin America, Falconi has been Bicentennial Visiting Professor of Aesthetics at the University of Chile (Santiago de Chile, 2012 and 2019); International Professor at the National University of Colombia (Bogotá, 2013); Visiting Professor at the Center for Latin American Studies “Manuel Galich” at the Universidad San Carlos of Guatemala (2016); and Distinguished Visiting Professor at the University of Costa Rica (2017).