Anna Bella Geiger (b. 1933) is a Brazilian multidisciplinary artist whose work excavates the systems governing knowledge and experience. From her early experiments in video to her exploration of bookmaking as an art form, she has produced a groundbreaking body of conceptual work that confronts hegemonic structures, geopolitical dynamics, and the hierarchies of the art world. Geiger began her career in the 1950s as a painter, producing abstract Informalist paintings until 1964, when she embarked on a series that referenced the human body, as part of what art critic Mário Pedrosa termed her visceral phase. In the late 1960s, her work began responding to the sociopolitical context of Brazil, which entered a decades-long dictatorship in 1964. Around this time, she started engaging with cartography, topography, linguistics, and education, which would become long-term interests, and exploring nontraditional media, including performance, collage, and printmaking. In the 1970s, she became one of the first artists to experiment with video in Brazil, producing durational and poetic works in public space. Subsequently, in the 1980s and 1990s, she returned to the mediums of painting and sculpture, continuing to experiment with the themes of cartography. Her work has been the subject of numerous solo exhibitions, including Anna Bella Geiger: Native Brazil/Alien Brazil (2020) at the Museu de Arte de São Paulo; Anna Bella Geiger: Geografía física y humana (2018) at La Casa Encendida, Madrid; Anna Bella Geiger: Maps under the Sky of Rio de Janeiro (2018) at Zachęta, National Gallery of Art, Warsaw; and On a Certain Piece of Land (2005) at Red Gate Gallery, Beijing.

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 thegruposmovement of the ’70s and ’80s. Responding to the underrepresentation of women’s issues within thegrupos, she collaborated with other artists to form discussion groups and develop projects that addressed feminist concerns, including the environmentMi 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, withValores sociales, personales, etc…(Social, Personal Values, etc…) andDe 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 includeToda 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; andMagali Lara: Glaciares(2010) at the Visual Arts Center, Austin, TX.

Lea Lublin (French Argentine, 1929–1999) was a Polish-born French Argentine artist whose multimedia work addressed feminist issues and challenged the boundaries of art. She began her career in Buenos Aires, where she was associated with the experimental art center Instituto Torcuato Di Tella, and spent most of her life in Paris, turning to sculpture, installation, and performance in the mid-1960s. Her work from this period includedMon fils(My Son, 1968), for which she cared for her infant son in an extended so-called exhibition-performance; the interactive maze-like environmentTerranautas(Earthnauts, 1969), presented at the Instituto Torcuato Di Tella; and the participatory multi-sensory installationFluvio Subtunal(Subtunnel Flow, 1969). In the 1970s and ’80s, Lublin developed several research-based projects, inspired by psychoanalysis and feminist theory, that included examining art historical motifs and interviewing members of the public about art and gender issues. Like the bannerInterrogations sur la Femme(Interrogations about Woman, 1978), which featured a series of pointed questions about women, these works exposed and confronted social stereotypes. Her work has been the subject of the solo exhibitionsLea Lublin(2018) at the Centro Andaluz de Arte Contemporaneo, Seville, Spain;Lea Lublin: Retrospective(2015) at Lenbachhaus, Munich; andLéa Lublin: Mémoire des lieux—mémoires du corps(1995) at Le Quartier Centre d'Art Contemporain de Quimper, France.

Margarita Paksa (Argentine, 1933–2020) was a key figure of conceptualism in Argentina, whose work in installation, drawing, and other media explored communication, language, and politics. She began her career as a ceramicist and began producing sculptures using iron and found objects in the early 1960s. These works paved the way for her first environment,Calórico(Caloric), from 1965 and subsequent experiments with non-traditional art forms. Influenced by critic Oscar Masotta, her work in the 1960s and ’70s engaged with philosophy, linguistics, communication theory, and the idea of the dematerialization of the art object, leading to her experimental use of sound and technology. Paksa was also a key participant in the Instituto Torcuato Di Tella, which incubated new artistic styles and strategies, including pop and conceptualism, in Buenos Aires. Often responding to social unrest and oppression in her artistic activity, Paksa participated in the foundational political group exhibitionsTribute to Vietnam,Tucumán Arde, andMalvenido Rockefellerin the late 1960s. During this period, Paksa also developed works that incorporated text and typography to address political events and ideals, including through her graphic seriesSituaciones fuera de foco(Out-of-Focus Situations) from 1966 andDiagramas de batallas(Battle Diagrams) from 1970 to 1976. Exhibitions of her work includeMargarita Paksa: Un mundo revuelto(2019) at Herlitzka+Faria, Buenos Aires;Margarita Paksa y la luz(2017) at the Museo de la Cárcova, Buenos Aires;Margarita Paksa: Retrospective(2012) at the Museo de Arte Moderno de Buenos Aires.