Molly Nesbit teaches and writes on twentieth century art, film and photography. Her two books, Atget's Seven Albums (1992) and Their Common Sense (2000) summarize a part of this work; it also involves a stream of essays on contemporary art. She is a contributing editor of Artforum, has taught at the University of California, Berkeley and Barnard College, Columbia University, and has received many awards, notably from the Guggenheim Foundation and the J. Paul Getty Trust.

Joseph is Assistant Professor in the Department of Art History at the University of California, Irvine, and an editor of Grey Room. He also edited a book of critical writing on Robert Rauschenberg. Joseph has written on John Cage, Robert Morris, and Andy Warhol and his book Random Order: Rauschenberg and the Neo-Avant-Garde will be published by MIT Press this fall.

Born in London in 1946, Warner is a prize-winning writer of fiction, criticism and history. Her works have been published in Parkett, New York Times, Paris Review and New Yorker. She has been on the Booker Prize Short List and won the PEN Silver Pen Award. Educated in Cairo, Brussels, Berkshire, England, and Lady Margaret Hall, Oxford, she lives in London.

McDonough is Assistant Professor of Art History at Binghamton University, New York. His recent writing appeared in 04131­Town Projects (2002), Another City for Another Life: Constant’s New Babylon (2001), and October. In addition, he is the editor of Guy Debord and the Situationist International (2002).

Godfrey is a lecturer in the history and theory of art at the Slade School of Fine Art, University College, London. He has curated exhibitions on Catherine Yass and Douglas Huebler, and has published articles on Louis Kahn, Morris Louis, and Frank Stella.

Comay teaches in the philosophy department of the University of Toronto. She is the editor of Lost in the Archives (2002) and the co-editor, with John McCumber, of Endings: Questions of Memory in Hegel and Heidegger (1999).

Buchloh is Barnard Professor of Art History at Columbia University. He has written extensively on postwar contemporary art and has published numerous essays on Richter's work. Among his recent books are Neo-Avantgarde and Culture Industry (2001) and Photography and Painting in the Art of Gerhard Richter (2001).

Former director of the Kunstmuseum luzern and the Kunsthalle Bern, Loock currently lectures on art history at the Schule für Gestaltung Bern. He has co-authored a monograph on Gerhard Richter and has written numerous essayus on contemporary artists including Marlene Dumas, Robert Gober, Sol LeWitt, Thomas Schütte, and Luc Tuymans.

Alexander Alberro teaches art history at the University of Florida. He edited books of writing by Dan Graham and Vito Acconci and is co-editor of Conceptual Art: A Critical Anthology (1999) and Recording Conceptual Art (2001). His book The Best Dish-washing Liquid Around: Conceptual Art and the Politics of Publicity is forthcoming.

Rosalind Krauss is Meyer Schapiro Professor of Modern Art and Theory at Columbia University and is a founding editor of October. Among her many books are A Voyage in the North Sea: Art in the Age of Postmodernism (2000), Bachelors (1999), The Optical Unconscious (1994), and The Originality of the Avant-Garde and Other Modernist Myths (1986).

Miwon Kwon is Assistant Professor in the Department of Art History at the University of California in Los Angeles. Her work engages several disciplines including contemporary art, architecture, public art, and urban studies. Her book One Place after Another: Site-Specific Art and Locational Identity is forthcoming from MIT Press.

Jan Avgikos on Roni Horn

Jan Avgikos is an art historian and critic and teaches at the School of the Arts at Columbia University. She is contributing editor at Artforum and has written on various contemporary artists, among them John Baldessari, Maurizio Cattelan, Renée Green, Felix Gonzalez-Torres, and Roni Horn.

Dave Hickey teaches at the University of Nevada, Las Vegas, since 1992. He curated SITE Santa Fe's Fourth Biennial (2001). His publications include the book of short stories Prior Convictions (1989), The Invisible Dragon: Four Essays on Beauty (1993), and Air Guitar: Art and Democracy (1998). Hickey became a MacArthur Fellow in 2001.

Colin Gardner is assistant professor in the Art Studio and Film Studies departments at the University of California, Santa Barbara. Working at the intersection of film and art theory, he has published widely, including an essay on Bob Rafelson's Five Easy Pieces in Jack Nicholson: Movie Top Ten (Creation Publishing Group, 2000), an essay on Diderot in The Position of the Author (Visual Studies Workshop Press, 1993), and theatrical studies on Diana Thater's video installations in Space, Site, Intervention: Situating Installation Art (University of Minnesota Press, 2000).

Richard Shiff holds the Effie Marie Cain Regents Chair in Art and the Director of the Center for the Study of Modernism at the University of Texas in Austin. He has written extensively on Impressionism and modernism and on artists such as Paul Cézanne and Willem de Kooning. His publications include Cézanne and the End of Impressionism: A Study of the Theory, Technique, and the Critical Evaluation of Modern Art (1984); a collection of his essays is forthcoming (University of Chicago Press).

Peter Halley first gained recognition in the early 1980s for his geometric high-toned paintings. A well-respected critic, in 1996 he co-founded Index magazine. Halley has had numerous one-person exhibitions, including at such venues as the Museum of Modern Art, New York (1998), and the Dallas Museum of Art (1993). He serves as a visiting professor at the University of California, Los Angeles, and Yale University. Publications of his work include Maintain Speed (DAP, 2000), Utopia's Diagrams (Tema Publishers, 2000), and Recent Essays (Edgewise, 1997).

Dirk Schnauwaert is an art historian and the Director of the Kunstverein in Munich. As curator of the Palais des Beaux Arts in Brussels, he initiated an exhibition on the history of the Wide White Space Gallery in Antwerp, the first gallery exhibiting Panamarenko's work. Schnauwaert has written extensively on artists from the European Belgian Neo-Avantgarde of the 1960s and 1970s, such as Marcel Broodthaers and Jef Geys, in addition to other contemporary artists, including Allan Sekula and Lawrence Weiner.

Peter Wollen is Professor of Film at the University of California, Los Angeles. He is a filmmaker and film theorist, and has written widely on the history of art. His publications include Addressing the Century: 100 Years of Art & Fashion (1999) and Raiding the Icebox: Reflections on Twentieth Century Culture (1993). Along with Lynne Cooke, he coedited the Dia publication Visual Display: Culture Beyond Appearances (1995).

Russell Ferguson is an Associate Curator at The Museum of Contemporary Art, Los Angeles, where he recently organized the exhibition "In Memory of My Feelings: Frank O'Hara and American Art." Ferguson has written about the work of many contemporary artists, including Felix Gonzalez-Torres, Olafur Eliasson, Jason Rhoades, and Gillian Wearing. German artist Vera Lutter's large-scale photographs of industrial sites were on exhibition at Dia from October 14, 1999, through June 18, 2000. Using pinhole cameras, the precursor to the modern multi-lens camera, Lutter draws on pioneering techniques and historical models to construct vividly arresting representations.

Jan Tumlir presently teaches in the fine arts department at the University of California at Riverside and at the Otis Art Institute. He is a contributing editor at Art & Text, Artweek, and X-tra, and is a regular contributor to Los Angeles Weekly and Frieze. His writings have also appeared in various other publications, including Art Issues, New Art Examiner, Documents, and Plasm.

Boris Groys is professor of Aesthetics and Media Theory at the ZKM/Zentrum für Kunst und Medientechnologie (Center for Art and Media Technology), Karsruhe. The author of many books, including The Total Art of Stalinism (1988), On the New: Essay on Cultural Economy (1992), and Logic of the Collection (1997), he is a frequent contributor to Parkett, Artforum, Art in America. He has also published widely on modernism and the avant-garde and such contemporary artists as Ilya Kabakov, Fischil and Weiss, Douglas Gordon, Rodney Graham, and Richard Prince.

Bérènice Reynaud has curated and organized many film and video events and retrospectives, including the 1988 "Sexism, Colonialism, Misrepresentation" film series and conference. She is U.S. correspondent for the French film monthly Cahiers du Cinéma and for Libération, Paris's third daily paper. Her work has been published in Screen, Sight and Sound, the New York Times, the Village Voice, the Independent, Afterimage, among others. Her book on contemporary Chinese cinema is forthcoming.

Elaine Showalter is Avalon Foundation Professor of the Humanities and professor of English at Princeton University. She is the author of many books, including The Female Malady: Women, Madness, and English Culture, 1830-1980 (1985) and Hystories: Hysterical Epidemics and Modern Media (1997). She is a frequent contributor to the Times Literary Supplement and the London Review of Books.

Jonathan Crary is Associate Professor of Art History at Columbia University. A founding editor of Zone Books, he is the author of Techniques of the Observer. His new book Suspensions of Perception will be published by MIT Press in June.

Pamela Kort is an art historian specializing in the twentieth-century art of German-speaking Europe. She also is the author of numberous catalogue essays on Baselitz, Beuys, Immendorff, and Lüpertz, and is currently curating a retrospective of Paul Klee's work for the Haus der Kunst in Munich, which will be accompanied by her forthcoming book.

David Sylvester, the renowned writer on modern and contemporary art and a curator of numberous exhibitions, has recently published Looking at Giacometti and About Modern Art: Critical Essays 1948-1997. He also conducted an interview with Richard Serra in the catalogue of the artist's retrospective exhibition at the Museum of Contemporary Art Los Angeles.

Michael Govan is Director of Dia Center for the Arts and was previously Deputy Director of the Solomon R. Guggenheim Museum. He worked with the artist Dan Flavin on several projects including the reopening of the Guggenheim Museum, Dia exhibitions, and the recently realized installation at Chiesa Rossa, Milan.

Patricia Mellencamp is a professor in the Department of Art History at the University of Wisconsin at Milwaukee, teaching courses in film, television, and electronic arts and culture. She recently completed a manuscript titled The Alarming, Charming Video Art of Cecelia Condit: True Stories and Fairy Tales. She is the author of numerous books and articles, including A Fine Romance: Five Ages of Film Feminism.