Assistant Professor, Art History, Theory & Criticism (2009). BA, 1997, Amherst College; MA, 2006, PhD, 2010, The Graduate Center, City University of New York. Publications: Caiana Journal, Artlas BulletinArtMargins, Artforum, ArtNexus, Art in America, Arte al Dia International, Visual Resources, Americas Society QuarterlyAwards: 2013-2014 Postdoctoral Fellow, École Normale Supérieure, Paris; Warhol Foundation Arts Writers Grant; Milton Brown Dissertation Fellowship; Getty Research Institute Library Research Grant; Amherst College Memorial Fellow; Critical Studies Fellow, Whitney Independent Study Program.

Experience at SAIC

Faculty Senate Remuneration and Benefits Committee, 2012–present
Dual-Degree Coordinator, 2011–present

Co-Chair of Art History Self-Study Committee, 2012–2013
Art History Campus Facilities Study Committee, 2011–2012
Events and Exhibitions Committee, 2009–2011
Curriculum Committee, 2010–2011
Course Evaluation Committee, 2010–2011
Co-creator and faculty advisor, MA/MFA Studio Visit Group, 2010-2013

Graduate Seminars

ARTHI 1002 Art History: Survey of Modern to Contemporary Art and Architecture
ARTHI 2206 Modern and Contemporary Latin American Art
ARTHI 2588 National Cinema Histories,
ARTHI 3374 Global Conceptualism
ARTHI 5002 Art History: Graduate Survey of Modern and Contemporary Art
ARTHI 5344 Networks and Latin American Art
ARTHI 5358 New York, Rio, Buenos Aires: 1960-1980
ARTHI 5410 Art History: Latin American Art and Crisis
ARTHI 5755 Postwar Art and Information Theory
ARTHI 5820 Art and Migration
ARTHI 5880 Parafictions
ARTHI 5980 Special Exhibitions Seminar
ARTHI 5999 Thesis Tutorial


Current Major Projects

Ghost Messages: Argentine Conceptualism, 1965–1972. Book manuscript, to be completed 2016.

Jaime Daviddovich in Conversation with Daniel R. Quiles (New York: Cisneros Foundation, forthcoming 2016).

Catalogue Essays and Contributions to Scholarly Journals

Chapter contribution, edited volume in addition to exhibition catalogue for Getty Pacific Standard Time exhibition David Lamelas: A Life of Their Own (forthcoming 2017, intended publisher University of California Press).

“Between Chaos and the Furnaces: Argentine Conceptualism,” in A Companion To Modern and Contemporary Latin American and Latino Art, eds. Robin Greeley and Megan Sullivan (Boston: Wiley-Blackwell, forthcoming 2016).

“Black Box / Clear Box: Luis Benedit and Cybernetics,” in Luis Benedit, ed. Maria Torres (Buenos Aires: Fundación Espigas, forthcoming 2016).

“Double Bind: Technology in Argentine Art, 1965-1975,” in Sighting Technology in Modern and Contemporary Latin American Art. María Fernández, ed. (Ithaca, NY: Institute for Comparative Modernities, forthcoming 2016).

"Dead Boars, Viruses, and Zombies: Roberto Jacoby's Art History," Art Journal (Winter 2015): 38-55.

“Mediate Media: Buenos Aires Conceptualism,” exhibition essay for Transmissions: Art in Eastern Europe and Latin America, 1960-1980, Museum of Modern Art, New York, 2015,

“S(h)ifters: Overidentification in Latin America, 1966-1989,” in From Kapital to Capital: Neue Slowenische Kunst: An Event of the Final Decade of Yugoslavia, exh. cat. Moderna Galerija, Ljubljana (Cambridge: MIT Press, 2015), 426-435.

Outreach: Jaime Davidovich, 1974-1984, exh. cat. (Chicago: Threewalls: Contemporary Art Chicago, 2015).

“Pedro Cabrita Reis: Five Terms,” in Pablo Cabrita Reis, exh. cat. (Chicago: Arts Club of Chicago, 2015).

Introduction and guest-edited special issue, “Highways of the South: Latin American Art Networks,” Artl@s Bulletin, Vol. 3, Issue 2 (Fall 2014).

"Sifters: Overidentification in Latin American Conceptualism," in exhibition catalogue for Neue Slovenische Kunst retrospective, Moderna galerija / Museum of Modern Art, Ljubljana, 2014.

"Exhibition as Network, Network as Curator: Canonizing Art from 'Latin America,'" Artlas Bulletin, July 2014.

"Between Organism and Sky: Oscar Bony, 1965–1976," Caiana Journal, Summer 2014.

"My Reference is Prejudiced: David Lamelas's Publication," Art Margins, Fall 2013, pp. 31–62.

"Architectural History as Medium," in Osvaldo Romberg, Translocations: Mies and Melnikov, exh. cat. Plano, IL: National Trust for Historic Preservation, 2013.

"Distress," in Dimensional Lines: Art + Dress, exh. cat. (Chicago: Evanston Art Center, 2012).

"Conrad Freiburg: Out of Time," in Conrad Freiburg: It Is What It Isn't, exh. cat. (Chicago: Hyde Park Art Center, 2011).

"Response to Philip Derbyshire's 'Who Was Oscar Masotta?'" Radical Philosophy (Fall 2010).

"Contra-," Ramona (Buenos Aires) (Summer 2010).

"Mixed Fortunes," in Mariliana Arvelo: Mixed Fortunes, ed. José Guillermo Fantoni, exh. cat. (Cambridge, MA: David Rockefeller Center for Latin American Studies, Harvard University, 2009).

"Deciding the Best of Given Choices," in Carla Herrera-Prats: Prep Materials: Art in General New Commissions Program Vol. XIX, exh. cat., ed. Anne J. Barlow and Eva Diaz (New York: Art in General, 2008), 21–37.

"Interview with Roberto Jacoby," Americas Society Quarterly (November 2007), 323–330.

"Burn Out My Identity: Destruction and Collectivity in Greco and Minujín," in Beginning With A Bang! From Confrontation To Intimacy: An Exhibition of Argentine Contemporary Artists, exh. cat., ed. Gabriela Rangel Mantilla (Boston: Harvard University Press and Americas Society, 2007), 69–80.

Criticism and reviews

Artforum (2009–present)

Arte al Dia International
Burlington Magazine
Dis Magazine
Visual Resources

Thesis Advisees

  • Zoe Alexandra Goldman (Dual 2017): Leading America Through Local Modernism: Instituto Nacional de Bellas Artes' (Mexico) Exhibitions and Publications on Architecture, 1950-1952
  • Veronica Sines (MA 2017): System as Tool, Art as Energy: The Significance of Language in the Works of Lee Lozano
  • Paula Calvo (MA 2016): Materiality and Reproduction: Photographs of the Disappeared Recovered by Victor Basterra
  • Mia Lopez (Dual 2015): Performing Ethnography: Institutional Critique and Site Specificity in Coco Fusco and Guillermo Gómez-Peña's Two Undiscovered Amerindians Visit the West


Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.