Ana López (b. 1955, Buenos Aires) is an Argentine artist who has worked across sculpture, painting, and drawing since the 1990s. Her work manifests the intimate emotional relationships between biological life and social structures by reflecting on the intersections of gender, religion, ritual, and migration. A contemporary of artists Juan Pablo Renzi and Juan Carlos Distéfano, and a former student of Margarita Paksa, she studied at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón and the Escuela Superior de Bellas Artes Ernesto de la Cárcova.

López’s early sculptures, such as those from the Coronas (1994) series, set a precedent within her work for empathic renderings of the human form that continue throughout her career in works such as Ellas (2003), Tina (2020), and Serie Las Comandantas (2020). Since her rise in Argentina’s underground feminist arts scene, she has shown her work in numerous solo and group exhibitions, including Recorrido audiovisual at the Museo de Arte de Buenos Aires (2016); Celebración del día de los santos y los muertos at Museo Sívori, Buenos Aires (2017); Tácticas luminosas at Galería del Rojas at Colección Fortabat, Buenos Aires (2019); Lecho marino at Walden Naturae, Uruguay (2022); and De la casa al Cielo at the Museo de Arte Latinoamericano de Buenos Aires (2023). A dedicated storyteller, she is the author of Un sueño del siglo pasado (2001) and Lourdes Ventura, una vida ejemplar (2006), and contributed the illustrations to Marta Dillon’s Vivir con virus (2014). Among her accolades, she was awarded the Amalia Lacroze de Fortabat Foundation prize in 2023. López continues to live and work in Buenos Aires.

Alicia Herrero (b. 1954, Buenos Aires) is a contemporary Argentine artist whose practice spans installation, site-specific intervention, painting, sculpture, video, and performance. Herrero examines and reconstructs conventional cultural ideologies through a multidisciplinary, feminist, and conceptual lens, rooted in the exploration of the relationships between material, color, and performance. She earned a degree in painting and Printmaking from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón, presently known as the Universidad Nacional de Arte. Exhibiting for the first time in 1986, her work over the following decade developed within the context of underground feminist movements organizing in Buenos Aires.

Herrero's work has been featured in the Fifth Bienal de La Habana, Havana (1994); the Bienal del Fin del Mundo, Ushuaia (2007); the Eighth Bienal do Mercosul, Porto Alegre (2011); and Tácticas luminosas at Galería del Rojas at Colección Fortabat, Buenos Aires (2019). The large-scale solo retrospective Alicia Herrero: Supersignos y la performatividad de materia. Obras y procesos (1996-2011), at Museo Sívori (2022), marks the artist’s largest survey to date. She is the recipient of several fellowships and prizes, including the first prize for Premio Pintura Fundación Fortabat (2019) and the prestigious Premio Nacional a la Trayectoria Artística (2020). Her work is held in public and private collections across Latin America, Europe, and the United States. Herrero lives and works in Buenos Aires. 

Cristina Schiavi (b. 1954, Buenos Aires) is an Argentine artist based in Buenos Aires. Since the 1980s, her work has imbued sculpture, painting, assemblage, and design with critical approaches to feminism, domesticity, geometric abstraction, and consumer technologies. Her foundational training in ceramics and sculptural modeling resulted in an interest in raw form and design, which she pursued further during her studies in architecture and art history at the Universidad Nacional de Buenos Aires. In the early 1970s, Schiavi held apprenticeships with sculptors Aurelio Macchi and Antonio Pujía, where she continued to hone her technique.

During the mid-1980s, Schiavi formally established a studio practice and became associated with the socially aligned artistic movement known as Arte Light. Her use of found objects and interest in the human condition led to her connect with artists such as Alicia Herrero, Ana López, and Feliciano Centurión, associated with the Centro Cultural Ricardo Rojas. In her first solo exhibition, Schiavi Furniture Line at Espacio Giesso, Buenos Aires (1991), she presented leatherette-upholstered chairs that reflected on interior space and dysfunctionality. Schiavi would go on to explore assemblage, ready-made objects, and their social context in her later work. She has since been featured in solo and group exhibitions throughout Latin America, notably the Bienal de Bahía Blanca (1999); the Tenth Bienal do Mercosul, Porto Alegre (2015); Tácticas luminosas at Galería del Rojas at Colección Fortabat, Buenos Aires (2019); Cristina Schiavi: Órbita cromática at Museo Moderno de Buenos Aires (2022); and Violaciones domésticas: 30 años despues (2024) and Mundo Fofo at W-Galería, Buenos Aires (2025).