Abel González Fernández is a writer and curator whose work focuses on mid-century art and design and contemporary art practices. González Fernández is the assistant curator at the Museum of Contemporary Art Detroit (MOCAD), where he is currently working on the first solo museum exhibition of Mark Thomas Gibson, along with the museum’s artistic director, Jova Lynn. In 2023 he graduated from the Center for Curatorial Studies (CCS), Bard College, where he focused his thesis research on contemporary Latinx art. Prior to MOCAD, González Fernández curated exhibitions in Havana, Berlin, Tokyo, and New York. In 2019, he was awarded a grant from the Prince Claus Fund Next Generation Program. Between 2022 and 2023, he curated Sin Autorización: Contemporary Cuban Art, at the Wallach Art Gallery, Columbia University, and held a fellow position at Pérez Art Museum Miami (PAMM). González Fernández is one of the curators of the first exhibition on Caribbean mid-century modernism in an American museum, which will open in 2024 at Cranbrook Art Museum, Detroit. He is one of the contributing writers of Roberto Jacoby, Art from the End of the World: Six Decades of Sound and Fury (2023), an extensive publication on Argentine artist Roberto Jacoby, in collaboration with the Institute for Studies on Latin American Art (ISLAA) and CCS Bard.

William Schwaller is PhD graduate from Temple University. An essay resulting from his Writer in Residence is forthcoming.

Rebecca Yuste-Golob is a PhD student at Columbia University who researched the César Paternosto Papers at ISLAA. An essay resulting from her Writer in Residence is forthcoming.

Megan Kincaid is a PhD student at the Institute of Fine Arts, New York University. Her research on Sarah Grilo and José Antonio Fernández-Muro resulted in an exhibition at ISLAA, related exhibition programming, and an essay in ISLAA's in-house journal Vistas 6.

Christopher Williams-Wynn is a PhD candidate in art history at Harvard University.

Paola Peña Ospina is a professor and researcher of sociology at the Universidad de Antioquia, in Colombia (2009) and an independent curator. She holds a master's degree in art history from the Universidad de Salamanca, in Spain (2012). Her research focuses on Colombian and Latin American art. She is interested in historical research that makes visible artists and practices that have not been considered in the most official accounts of art history. In this vein, she has published the books Sobre arte: Carlos Echeverry y el arte correo (2021) and Al mismo tiempo: Historias paralelas del videoarte en Colombia (2019). Peña Ospina has also written several texts with the aim of enriching discussions around contemporary artistic practices and allowing the emergence of new discourses in the field.