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Magali Lara (Mexican, b. 1956) is an artist and writer whose evocative work across painting, drawing, and other media often probes feminist, personal, and biographical subjects. Her early work in painting referenced the organic forms of the natural world, while her collages represented introspective themes and events. Inspired by a life-long commitment to writing, Lara has also incorporated text into her visual art throughout her career. In the 1970s, Lara was a member of the collective Grupo Março, which emerged in Mexico as part of the grupos movement of the ’70s and ’80s. Responding to the underrepresentation of women’s issues within the grupos, she collaborated with other artists to form discussion groups and develop projects that addressed feminist concerns, including the environment Mi casa es mi cuerpo (My House Is My Body, 1983), created with Mónica Mayer and Rowena Morales, and artists’ books, produced with Carmen Boullosa, that visualized subjective female experience. Lara’s solo work from this period included introspective watercolors and collages that attended to questions of sexuality and the body, for example, with Valores sociales, personales, etc… (Social, Personal Values, etc…) and De lo amoroso, personal, confidencial, etcétera (From the Loving, the Personal, the Confidential, Et Cetera). In recent decades, Lara has expanded her practice to encompass other media, turning her attention to animated, musical, and theatrical projects. Recent exhibitions of her work include Toda historia de amor es una historia de fantasmas (2021) at Seminario de Cultura Mexicana, Mexico City; Magali Lara: Intemperie (2015) at the Museo Nacional de la Estampa, Mexico City; and Magali Lara: Glaciares (2010) at the Visual Arts Center, Austin, TX.

Cecilia Fajardo-Hill is an independent British Venezuelan art historian, curator, and writer whose work focuses on modern and contemporary Latin American and Latinx art. She has a PhD in art history from the University of Essex and an MA and a postgraduate diploma in twentieth-century art history from the Courtauld Institute of Art. Fajardo-Hill has curated numerous exhibitions and published extensively on contemporary Latin American and international artists. She cocurated the exhibition Radical Women: Latin American Art, 1960–1985 (2017) at the Hammer Museum in Los Angeles and is the editor of Remains–Tomorrow: Themes in Contemporary Latin American Abstraction (Hatje Cantz, 2022), a book on post-1990s abstraction in Latin America. She received the Andy Warhol Foundation Arts Writers Grant in 2020, is the 2021–22 visiting scholar at the David Rockefeller Center for Latin American Studies (DRCLAS) at Harvard University, and is a 2022–23 associate of DRCLAS. In addition, Fajardo-Hill is a visiting scholar of museum studies; the director of Northlight Gallery at the ASU Herberger Institute for Design and the Arts; and the director of the ASU-LACMA Fellowship program at Arizona State University in Phoenix.