Alice Creischer is an artist based in Berlin. She studied philosophy, German literature, and visual arts in Düsseldorf. As one of the key figures of German political art movements in the 1990s, she has contributed to numerous collective projects, publications, and exhibitions. Along with Andreas Siekmann, Creischer has been co-curator of exhibitions such as Messe 2ok (1995), ExArgentina (2001), and, with Max Jorge Hinderer Cruz, The Potosí Principle (2010), through which she has developed a specific curatorial practice that correlates with her work as an artist and theorist.

Andreas Siekmann is an artist based in Berlin. Since 1987, he has taken part in many exhibitions as both an artist and curator. He has worked in close collaboration since the 1990s with artist Alice Creischer, with whom he co-curated Messe 2ok (1995), ExArgentina (2001), and, with Max Jorge Hinderer Cruz, The Potosí Principle (2010). 

Monika Baer (b. 1964) is a German artist based in Berlin and Los Angeles. Baer’s body of work employs a diversity of stylistic and material explorations that challenge existing models of painting. Her paintings depict surreal, indeterminate experiences and landscapes, and combine figures from everyday objects and biomorphic forms to create compositions that resist narrative coherence. In 2019 Baer was awarded the Hannah Höch Prize for lifetime achievement by the State of Berlin. Her work has been the subject of recent solo exhibitions at Kunsthalle Bern, Switzerland; Greene Naftali, New York; Neuer Berliner Kunstverein, Berlin; Museum Abteiberg, Mönchengladbach, Germany; and the Art Institute of Chicago.

Matthijs de Bruijne (b. 1967) is a multidisciplinary artist based in Amsterdam, whose practice and research often arise in collaboration with trade unions and other labor organizations. De Bruijne persistently challenges the borders of the artistic field with process-based, multi-authored, artistic-political experiments. For more than fifteen years, he has negotiated his artistic practice in a variety of social contexts and engaged in long term collaborations with social movements, groups, and organizations outside of traditional art institutions. His work has been exhibited at the Museum Ludwig, Cologne, and the Museo Nacional Centro de Arte Reina Sofía, Madrid.

Stephan Dillemuth (b. 1954) is a German artist who works across installation, video, performances, paintings, documents, and publications. His work investigates what it means to live as an artist within a capitalist society and imposed valuation structures. Dillemuth’s practice spans manifesto-writing, teaching, object-making, and painting. His work has been exhibited at Kunsthal Aarhus, Denmark; Galerie Nagel Draxler, Cologne; American Fine Art, New York; and Secession, Vienna, among others.

Juan Downey (1940–1993) was a Chilean artist known for his pioneering video work as well as his drawing, digital media work, installation, painting, performance, and printmaking. His work is epistemologically open and transdisciplinary, demonstrating the richness of his experimentation with different technologies in the context of the information and technological revolution of the 1960s and ’70s. Downey’s videos often critique the purported objectivity of ethnographic observation and documentation. His work is in the collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; and the Smithsonian American Art Museum, Washington, DC, among others.

Harun Farocki (1944–2014) was a German filmmaker, author, and lecturer who began making films in the late 1960s. His work addresses practices of labor and the production of images through a political lens that often confronts the persuasive properties of the cinematic medium. Farocki’s later works explore the concept of operative images—images created for military intelligence and surveillance as opposed to public consumption. In 2009 Tate Modern held the first major retrospective of Farocki’s films, and in 2011 the Museum of Modern Art hosted the first comprehensive US solo exhibition of his work.

León Ferrari (1920–2013) was an Argentine conceptual artist. His artworks often attracted controversy due to its critiques of the Argentine government, the imperialist West, and the Church. His practice encompassed painting, collage, sculpture, poetry, and printmaking. Ferrari’s works are represented in several major collections, including those of the Art Institute of Chicago, Illinois; the Blanton Museum of Art, Austin; the Bronx Museum of the Arts, New York; the Centro de Arte Contemporáneo Wifredo Lam, Havana; the Daros Latinamerica Collection, Zurich; and the Museo de Arte Carrillo Gil, Mexico City.

Pedro Figari (1861–1938) was an early modernist painter from Uruguay and a multifaceted intellectual of the Generación del Novecientos. Figari was a prominent lawyer, writer, and politician until the age of sixty, when he started his artistic practice and began to devote himself completely to painting. His works depict folk dances, rituals, and celebrations; gaucho life; and Argentine pampas, as well as the Afro-Uruguayan communities of Montevideo.

Sally Gutiérrez Dewar works with expanded formats in a hybrid field between contemporary art, visual essay, and non-fiction film. From a critical and feminist position, her artistic projects explore the ways of inhabiting and resisting in geographies where sentient beings and objects are also social actors in the networks and crises of globalization. Gutiérrez Dewar teaches art at the University of Salamanca and the European University of Madrid. She has been a member of several film festivals and art grant juries. Her art projects have been shown at international film festivals, galleries, museums, TV channels, NGO's, government agencies and universities. Her work is in the collections of the Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Contemporáneo de Castilla y León, and the CDAN Centro de Arte y Naturaleza.

Miguel Hilari (b. 1985) is a filmmaker and artist of German and Aymara descent based in La Paz, Bolivia. His practice is concerned with memory, migration, and histories of colonialism and labor, especially related to Indigenous people of the Andean region of South America. His films have been exhibited at festivals, museums, and movie theaters worldwide, including the International Short Film Festival Oberhausen, Germany; Visions du Réel, Nyon, Switzerland; and Film at Lincoln Center, New York.

Cildo Meireles (b. 1948) is a Brazilian conceptual artist known for his installations, many of which express resistance to political repression in Brazil. Meireles’s participatory work of the 1970s included subtle modifications of objects ranging from Coca-Cola bottles to paper money, with the aim of circulating critical public opinions in the midst of the strict censorship imposed by Brazil’s military dictatorship at the time. His more recent large-scale pieces encourage a phenomenological experience through the viewer’s interaction. Meireles’s work is in the collections of Tate Modern, London; the Museum of Modern Art, New York; and the Art Institute of Chicago, among others.

Melchor María Mercado (1816–1871) was a Bolivian artist from Sucre. During his long deportations as a political prisoner—which took him to faraway corners of the Bolivian territory— he createdÁlbumde paisajes, tipos humanos y costumbres de Bolivia (Album of Bolivian Landscapes, Human Types, and Customs, 1841–69). The album contains 116 watercolor illustrations in which Mercado depicts the customs of mid-nineteenth century Bolivians and scenes of their daily lives. They also depict rural and urban landscapes, work tools, plants, and animals. The album is preserved by the Archivo y Biblioteca Nacionales de Bolivia and was published in 1991.

Dennis Oppenheim (1938–2011) was an American conceptual artist who worked across performance, sculpture, photography, and earth art. Addressing experiential phenomena, nature, and societal structures, Oppenheim’s work sought to pose questions and break out of traditional modes of sculpture. Throughout his career, he expanded the definition of art—as idea, intervention, fleeting moment, or large monument—and pushed it beyond the realm of the gallery. He was pivotal in contributing to the foundational and defining moments of multiple art movements, incorporating varied materials, styles, and themes in his work.

Venezuelan artists Claudio Perna (Milan, Italy, 1938 – Holguín, Cuba, 1997) is a key figure of Latin American conceptual art and a pioneer of a form of transdiscipline that he called “Art=Life=Science.” He was one of the most relevant Venezuelan photographers and historians of his time, as well as the founder of the Audio-Visual Archive of the country. His artistic practice revolved around investigations of human geography and scientific methodology, his relation to psychiatry, local magical thinking, popular culture, and his interest in mass media.

Felipe Guaman Poma de Ayala (1534–1615) was a Quechua nobleman known for chronicling the ill treatment of Indigenous people in the Andes during colonial Spanish rule. One of his most notable works,El primernueva corónica y buen gobierno(The First New Chronicle and Good Government, ca. 1615) is considered the most accurate existing graphic depiction of Indigenous life in the colonial Viceroyalty of Peru. It consists of more than five hundred hand-drawn illustrations that blend with a written narrative, forming an integral part of the work.

Konstanze Schmitt is a visual artist and theater director from Germany who works across performance and installation. Her documentary and biographical work often responds to political contexts and explores possible realizations of utopias. She has collaborated with actors, dancers, architects, organized domestic workers, experts in the field of human reproduction, and others. Her work has been exhibited in numerous venues, including HAU 3, after the butcher, the Neue Gesellschaft für Bildende Kunst, and the Latvian Center for Contemporary Art.

Territorio Doméstico is a collective based in Madrid that consists of organized domestic workers, individuals, and activists, especially migrant women. The group advocates for the rights, dignity, and appreciation of domestic workers and the labor that they enact for others in a system that often devalues their work and makes it invisible and precarious.

Augusto Torres (1913–1992) was an Uruguayan artist and the eldest son of Spanish Uruguayan artist Joaquin Torres-García. Torres developed an artistic practice and style based in a visual structure that was guided by a system of ratios and proportions, as well as geometry, principles that he gleaned from the Cubism and Purism movements.

Abraham Regino Vigo (1893–1957) was one of the most prominent artists of Buenos Aires’s first avant-garde during the 1940s. Born in Montevideo, at the age of twelve Vigo started working with his father, a painter and decorator, in Buenos Aires. Like his father, he studied painting at the Sociedad Estímulo de Bellas Artes. During his lifetime, Vigo’s work was shown both in solo and group exhibitions, and he received several awards and prizes. His articulation between artistic practice and political militancy represented a modernist approach within his local art context. Vigo primarily employed graphic techniques such as woodcuts, etchings, and drawings, and were featured in magazines, newspapers, and books.