CURRICULUM VITAE

PERSONAL DETAILS

NAME: Cecilia Petra Fajardo-Hill

NATIONALITY: British/Venezuelan
E-MAIL: cfajardohill@gmail.com

ACADEMIC QUALIFICATIONS

• PhD 2003 Doctor of Philosophy in Art History and Theory, University

of Essex, Colchester, England. Tutor: Prof. Dawn Ades.
• MA 1994 M.A. on 20th Century Art History, “Modernity and Regression: Artists in
France c. 1906-1939”. Courtauld Institute of Art, University of London,
England.
• DIPLOMA 1993 Postgraduate Diploma in History of Art, specializing in European and
British art and architecture, 1840-1930. Courtauld Institute of Art,
University of London.
• BA 1985 Bachelor Degree in History of Art. Department of Art History, Faculty of
Humanities, University of the Andes (ULA), Mérida, Venezuela.

PROFESSIONAL EXPERIENCE (1991-present)

• 2018-2019; 2014-2015
• July 2013- Fall 2017
• April 2013 - Present
• April 2013 - Dec. 2016
• August 2009-Nov. 2012
• January 2005-Dec. 2008
• April-July 2002
• June 1997-July 2001
• January 1991-Feb. 1992
Visiting Scholar at the UCLA Chicano Studies Research Center, Los
Angeles.
Guest Curator at the Hammer Museum, UCLA, Los Angeles.
Curator of Abstractioninaction.com
Chief Curator at SPACE Collection, Irvine, California.
Chief Curator and Vice-President of Curatorial Affairs at the Museum of
Latin American Art, MOLAA, Long Beach, California.
Director and Chief Curator of the Cisneros Fontanals Art Foundation
(CIFO) and the Ella Fontanals-Cisneros Collection, Miami.
'Museology II', Postgraduate course in Museum Studies at
the Faculty of Architecture, Universidad Central de Venezuela, Caracas.
General Director to the Sala Mendoza, Eugenio Mendoza Foundation,
Caracas, Venezuela.
Executive Director, Sala Mendoza, Eugenio Mendoza Foundation,
Caracas, Venezuela.

SELECTED PUBLICATIONS
BOOKS

• Co-Editor of Guatemalan 20th and 21st Century Art History editorial project, Cultural Agents Initiative at
Harvard University, Cambridge, MA, and Arte GT 20/21, Guatemala. Upcoming, 2019
• “Performative Bodies: Artists/Spectators. Curating Radical Latina and Latin American Women artists”
in Critical Companion to Performance Art, Edited by Bertie Ferdman and Jovana Stokic, London:
Bloomsbury Press, 2019
• Upcoming essays on Pia Camil (Cincinnati Museum of Art), Jorge Riveros, Solange Pessoa, Sonia
Gomes (MASP, Sao Paulo), Freda Sargent, Manuel Chavajay.
• “To Overflow the Limits. Nothing is Impossible. Everything is Possible” (on Gabriel de la Mora), ed.
by Fabiola Iza. Mexico City, Spring 2018  
• “Analia Segal: The Disruption of Surface,” in El interior del interior: Analia Segal, concept by Analia
Segal. Buenos Aires: Ley de Mecenazgo de la ciudad de Buenos Aires, Spring 2017.  
• “O corpo emancipado –Radical Women: Latin American Art, 1960-1985” in Histórias da sexualidade:
Antologia, Edited by Adriano Pedrosa and André Mesquita, MASP, Sao Paulo, 2017
• ‘La paradójica posibilidad decolonial del arte’ in Dossier ArteBA, 2017 Descolonizaciones Inciertas II
#NiUnaMenos / Uncertain Decolonizations II #NiUnaMenos), Buenos Aires.
• “La abstracción dialógica de Magdalena Atria,” in Magdalena Atria. Santiago de Chile: Fondart and
Consejo Nacional de la Cultura y las Artes, 2016.
• “Las ‘otras’ modernidades” in Modernidad y vanguardia: rutas de intercambio entre España y
Latinoamérica (1920-1970), ed. By Paula Barreiro López and Fabiola Martínez Rodríguez. Madrid:
Museo Nacional Centro de Arte Reina Sofía, Digital publication, 2015.
• “Full Emptiness and/or The Inconclusive Infinite” in Emilia Azcárate: Liminal. New York and Madrid :
Henrique Faría Fine Art & Turner, 2014.
• “La Contingencia de la Mirada en Abstracción”, in Luis González Palma. Madrid: La Fábrica, 2014.
• Entry in Conceptos de arte contemporáneo, NC-arte, Bogota, 2014.
• “Luis Roldán’s Non-Modern Art” in Sueños y Vigilias de Luis Roldán, Colección de Arte
Contemporáneo, ed. by José Roca and Alejandro Martín. Bogota: Seguros Bolívar, 2013.
• “Elías Crespin: The Interplay between the Material and the Immaterial” in Intersecting Modernities:
Latin American Art from the Brillembourg Capriles Collection, ed. by Mari Carmen Ramírez. Houston,
TX and New Haven, CT: MFA Houston and Yale University Press, 2013.
• “Adriana Bustos’ Anthropophagy” in Adriana Bustos. Buenos Aires: Ignacio Liprandi Arte
Contemporáneo, 2013.
• “Conversation”, (with Jesús Fuenmayor) Pulsos de la Abstraccion en Latinoamérica: Colección Ella
Fontanals-Cisneros / Pulses of Abstraction in Latin America: The Ella Fontanals-Cisneros, Ella
Fontanals-Cisneros, Miami and Madrid: CIFO and Turner, 2012.
• “Problemas para Pensar en el Arte desde la Perspectiva Global” in Formulación del Modelo Expositivo:
Charlas y Foros en Torno a la Curaduría de Arte Contemporáneo, ed. by Tahía Rivero. Caracas,
Venezuela: Fundación Banco Mercantil, 2004.
• “Miguel Angel Ríos” entry, The Jack S. Blanton Museum of Art Catalogue, ed. by Gabriel Pérez
Barreiro. Austin: University of Texas at Austin, 2004.
• “Jimmie Durham” in Black My Story, Museum de Paviljoens, Almere, Netherlands, 2003.
• Cecilia Fajardo-Hill, editor, La Sala Mendoza: 45 años haciendo la historia del arte contemporáneo en
Venezuela, Caracas: Sala Mendoza, 2002.
• “Mi Casa no es mi casa: Imaginar los Transterritorial”, I y II Foro Latinoamericano, ed. by Gerardo
Mosquera. Badajoz: Museo Extremeño e Iberoamericano de Arte Contemporáneo, 2001.
• Entries on Cuban artist Amelia Peláez and Bolivian artist María Luisa Pachecho in The Dictionary of
Women Artists, London: Fitzroy Dearborn Publishers, 1997.
CATALOGUES

• Yeni & Nan: Nacimiento, Henrique Faria Fine Art, New York, May 2018
• Cecilia Fajardo-Hill with Andrea Giunta, editors, Radical Women: Latin American Art, 1960-1985, Los
Angeles: Hammer Museum, University of California, and Munich, London and New York: Delmonico
Books – Prestel, September 2017. Essays in publication: “The Invisibility of Latin American Women
Artists: Problematizing Art Historical and Curatorial Practices” and “Singular Women: Experimental
Art in Venezuela”.
• “A arte erótica singular de Teresinha Soares”, in Quem tem medo de Teresinha Soares?, ed. by Rodrigo
Moura and Adriano Pedrosa. Sao Paulo, Brazil: Museu de Arte de São Paulo Assis Chateaubriand, April
2017.
• “The Body as Mediator of Violence” in Basta!, ed. by Claudia Calirman and Isabela Villanueva. New
York: The Anya and Andrew Shiva Gallery and John Jay College of Criminal Justice, May 2016.
• “Adriana Bustos’Anthropophagy” in Transcultural Flux, ed. by Malin Barth. Bergen, Norway: TrAP
and Stiftelsen 3,14, 2016.
• Cecilia Fajardo-Hill, Monochrome Undone, The Sayago & Pardon Collection and RM, Mexico City and
Tustin, 2015.
• “Frames of Reference for Thinking about Specificities that Name Themselves in Guatemala’s
Contemporary Art” in Transvisble: 19 Bienal de Arte Paiz. Guatemala City: Fundación Paiz, 2014.
• “Ricardo Valverde: Experimental Sights, 1971-1996” in Ricardo Valverde: Experimental Sights, 1971-
1996, ed. by Chon Noriega. Los Angeles: Vincent Price Art Museum and UCLA Chicano Studies
Research Center Press, 2014.
• “Carlos Cruz-Diez: ‘Some Paradoxes in Carlos Cruz-Diez ‘Chromatic Event”, Circumstance and
Ambiguity of Color, New York: Maxwell Davidson Gallery, 2013.
• “Débora Arango: Art has Nothing to Do With Moral” in Sociales: Débora Arango Arrives Today, ed.
by Oscar Roldán, Medellín, Colombia: Ediciones MAMM, and Long Beach: Museum of Latin
American Art, 2012.
• “Esteban Lisa’s Own Abstraction” in Esteban Lisa: Playing with Lines and Colors. Long Beach:
Museum of Latin American Art, 2012.
• “Elias Crespin: The Interplay between the Material and the Immaterial” in Elias Crespin: Parallels.
New York: Cecilia de Torres, 2012.
• “Johanna Calle’s Meaningful Abstraction” in Variations: Drawings by Johanna Calle. Bogota,
Colombia: Galería Casas Reigner, 2010.
• “Play-Back” in Rafael Lozano-Hemmer Recorders, Manchester, UK: Manchester Art Gallery, 2010.
• Cecilia Fajardo-Hill, Fortunate Objects, Miami and Milan: Cisneros Fontanals Art Foundation CIFO
and Charta, 2007.
• Cecilia Fajardo-Hill, Forms of Classification: Alternative Knowledge and Contemporary Art. Miami:
Cisneros Fontanals Art Foundation CIFO, 2006.
• Jimmie Durham: Written in Stone. Zagreb, Republic of Croatia: Museum of Contemporary Art Zagreb,
2003.
• “Venezuela en los 90s: Contexto o Descontexto del arte?”, Políticas de la Diferencia. Arte
Iberoamericano Fin de siglo, ed. by Kevin Power. Valencia, Spain: Generalitat, 2001.
• “Mona Hatoum”, in Pervirtiendo el Minimalismo, ed. by Gerardo Mosquera. Madrid: Centro de Arte
Reina Sofía, 2000.
• Laura Anderson Barbata, New York: Galería Ramis Barquet, 1999.
• Roberto Burlemarx: El Parque del Este de la Ciudad de Caracas. Caracas: Sala Mendoza, 1992.

ARTICLES
 • “Mujeres Radicales y Feminismo” (co-authored with Andrea Giunta) and international editors of
Feminismos, Errata# 17, Bogotá, 2018.
• “Maria José Arjona Interviewed by Cecilia Fajardo-Hill”, Bomb Magazine, April 21st
https://bombmagazine.org/articles/the-collective-body-maria-josé-arjona-interviewed
• Michael Rakovitz 2018 Herb Alpert Award in the Arts Interview
https://herbalpertawards.org/artist/rakowitz-chapter-one
• “Latina Art through the Lens of Radical Women: Latin American Art, 1960-1985” (co-authored with
Marcela Guerrero), Diálogo, Center for Latino Research, DePaul University, Chicago, Fall 2017.
• Camila Opazo, “Entrevista a Cecilia Fajardo-Hill,” Tonic 4. Santiago de Chile: October 2016.
• “Teresa Burga: Open Work,” Camera Austria International 132. Graz, Austria: 2015.
• “Meaningful Abstractions,” Art Nexus 92. Miami: March-May 2014.
• ‘Cecilia Fajardo-Hill: Los Libros de historia necesitan ser reescritos para incorporar al arte
contemporeaneo Latinoamericano’, Interview by Diego Parra, Santiago de Chile: Artishock: Revista de
Arte Contemporáneo, digital publication, March 2014.
• “Contemporary Abstraction in Latin America”, and “Modern Abstraction in Latin America,” digital
publications, http://abstractioninaction.com/contexts/ Summer 2013.
• “Miguel López in Conversation with Cecilia Fajardo-Hill,” Arte al Día Internacional 143. Miami: July
2013.
• “Richard Garet,” Arte al Día International 143. Miami: July 2013.
• “Maria Evelia Marmolejo’s Political Body,” Art Nexus 85. Miami: June –August 2012.
• “Artur Lescher: The Meaningful Geometry,” Arte al Día International 124. Miami: September 2008.
• “Venezuela,” The Art Newspaper, Vol. IX, No. 81. London: May 1998.
• “Primer Plano: José Bedia: Crónicas Americanas,” Art Nexus 26. Miami/Bogota: October 1997.

CURATORIAL

• 2020 XicanXperimental Body (co-curated with Selene Preciado), Phoenix Museum.

• 2018 Interlocution/Contexts, Focus Section of Ch.ACO, Santiago de Chile.
• 2018 Ricardo Valverde: Experimental Sights, 1973-1996, Centro de la Imagen,
Mexico City.
• 2017-2018 Radical Women: Latin American Art, 1960-1985 (co-curated with Andrea
Giunta) Hammer Museum, Los Angeles, part of Getty Pacific Standard
Time LA/LA. Fall 2017; Brooklyn Museum, New York, Spring 2018; Pinacoteca,
Sao Paulo. Summer 2018.
• 2017 Object/Subject, Focus Section of Ch.ACO, Santiago de Chile.
• 2016 Landscape: Politics/Poetics, Focus Section of Ch.ACO, Santiago de Chile.
Everyday Reflections in Abstraction, SPACE, Irvine, CA.
In/Tangible: Maria José Arjona, Antonio Paucar, Naufus Ramírez-Figueroa,
Galerie Barbara Thumm, Berlin.
• 2015 Monochrome Undone, an Abstraction in Action exhibition, SPACE, Irvine.
Maria Evelia Marmolejo: Engagement/Healing, Prometeo Gallery, Milan.
• 2014 Transvisible: 19 Bienal de Arte Paiz, Chief Curator, Fundación Paiz, Guatemala
City, Guatemala.
Ricardo Valverde: Experimental Sights, 1973-1996, Vincent Price Art Museum,
East Los Angeles College, a UCLA Chicano Studies Research Center initiative,
Los Angeles.
Emilia Azcárate: Liminal, Henrique Faría Fine Art, New York.
• 2012 LA to LA: Selections from the Sayago & Pardon Latin American Art Collection,
(co-curated with Idurre Alonso and Selene Preciado), LA Artcore, Los Angeles.
Sociales: Débora Arango Arrives Today, co-organized touring exhibition, Museo
de Arte Moderno de Medellín, Museum of Latin American Art, Long Beach and
The Mint Museum, Charlotte.
Play with Me (co-curated with Idurre Alonso and Selene Preciado), Museum of
Latin American Art, Long Beach.
The Wave: MOLAA’s First Exhibition Fund Auction, Museum of Latin American
Art.
• 2011 Overarching organizer MEX/LA: Mexican Modernism(s) in Los Angeles 1930-
1985/A Getty Pacific Standard Time exhibition, Museum of Latin American Art.
Project Room: Johanna Calle Submergentes: A Drawing Approach to
Masculinities, Museum of Latin American Art.
Unresolved Circumstances: Perspectives on Current Video Art from Latin
America (co-curated with Idurre Alonso), Museum of Latin American Art.
Project Room: Gabriel de la Mora: Fragile, Museum of Latin American Art.
Boundaries: Selections from the MOLAA Permanent Collection, Museum of Latin
American Art.
• 2010 Project Room: Mariana Castillo Deball: Between You and the Image of You That
Reaches Me, Museum of Latin American Art.
Four Views from the MOLAA Permanent Collection, Museum of Latin American
Art.
Project Room: Leandro Erlich: Lost Garden, Museum of Latin American Art.
• 2008 Interrogating Systems: Grants and Commissions Exhibition, CIFO (Catalogue)
• 2007 Fortunate Objects, CIFO, Miami.
Three Perspectives: Eugenio Espinoza, Alvaro Oyarzun and Jose Alejandro
Restrepo, 2007 Commissions Program Exhibition, CIFO.
Positions in Context: Grants Program Exhibition, CIFO.
• 2006 Forms of Classification: Alternative Knowledge and Contemporary Art, CIFO.
Sites of Latin American Abstraction, organizer, CIFO.
Alexander Apóstol: Savage Modern / Magdalena Fernandez: Surfaces, CIFO.
10 Defining Experiments: Grants Program Recipients 2006, CIFO. (Catalogue)
• 2005 Beyond Delirious: Architecture in Selected Photographs from the Ella
Fontanals-Cisneros Collection. Organizer (curated by Christopher Phillips) and
Indeterminate States: Video in the Ella Fontanals-Cisneros Collection. Organizer
(curated by Michael Rush), CIFO.
Tomas Saraceno and Jarbas Lopes, CIFO Residency Program Exhibition, Design
District, Miami.
• 2001 Políticas de la Diferencia. Arte Iberoamericano Fin de siglo, (curator of the
Venezuelan and Colombian sections of this 1990s survey exhibition) Generalitat,
Valencia, Spain and Recife, Brazil.
La contextualidad abierta de Mona Hatoum, Sala Mendoza, Caracas, Venezuela.
(Catalogue).
Susan Hiller: Video-Installations, Sala Mendoza.
• 2000 X Edicion Premio Eugenio Mendoza, Sala Mendoza. (Catalogue).
• 1998 IX Edición Premio Eugenio Mendoza, Sala Mendoza. (Catalogue).
Nadia Benatar: Domestica-Da, Sala Mendoza. (Catalogue).
• 1997 La Nave de los Locos: Javier Tellez, Sala Mendoza.
SELECTED CONFERENCES, PRESENTATIONS AND SYMPOSIA

• 2018
Upcoming: Communitas Lecture Series, Department of Art and Design. Utah
State University, Utah, USA.
Upcoming: 2018 Edition Latin American Speakers Series, LACAP, Sur Gallery,
Toronto, Canada.
Upcoming: WOoj. Women Out of Joint, Il femminismo è la mia festa. Galleria
Nazionale d’Arte Moderna di Roma, Rome, Italy.
Chair at En Diálogo Symposium, The Brooklyn Museum, New York.
Lecturer at Coloquio Internacional El museo foro. Espacios museales para un
mundo intolerante, Cátedra Extraordinaria de Museología Crítica William
Bullock, MUAC, Mexico City.
JAQUE. Partida entre curadores. With Pablo León de la Barra. Centro Cultural
Metropolitano, Quito, Ecuador.
Lecturer: The Political body in Radical Women: Latin American Art, 1960-
1985, Princeton University, Princeton.
Participant in CAA Conference, session Borders and Breakthroughs: The Afterlife
of PST LA/LA (Part II), Los Angeles.
• 2017 Participated in the Women Artists Shows · Salons · Societies: Group Exhibitions of
Women Artists 1876-1976 symposium, Jeu de Paume, Paris.
Conference at Artl@s seminar, École Normale Supérieure, Paris.
Conference, The Political body in Radical Women: Latin/a American Art,
1960-1985, Williams College, Williamstown.
Roski Talks/Grad Lecture, USC Roski School of Art and Design, Los Angeles.
Participant in panel: The Role of Photography in PST LA/LA exhibitions,
LACMA's photography department with USC's Visual Studies Research Institute
(VSRI), Los Angeles County Museum of Art, LACMA, Los Angeles.
Chair at Symposium The Political Body in Latin American Art, Hammer
Museum, Los Angeles.
UCLA Art History graduate seminar, UCLA-LACMA Art History
Practicum Initiative on PST LA/LA, Los Angeles.
Symposium on PST LA/LA, University Institute of Fine Arts (IFA), Getty and
Frieze, New York University Institute of Fine Arts, New York.
• 2016 Speaker at Histories of Sexuality Seminar, Museu de Arte de São Paulo Assis
Chateaubriand, Sao Paulo.
Open Forum: Mujeres radicales: Arte latinoamericano, 1960-1985, ArteBA,
Buenos Aires.
Moderator in Dialogues in the Present Tense: Latino and Latin American Art
through the Lens of Pacific Standard Time: LA/LA, The Getty Center, May 16.
Speaker at Art and Violence in Latin America Today, a symposium associated
with the exhibition Basta!, The Anya and Andrew Shiva Gallery and John Jay
College of Criminal Justice, New York.
Speaker at IUPLR Fifth Biennial Latino Art Now! Conference: Re-imagining
Global Intersections, Inter University Program for Latino Art and Smithsonian
Latino Center, Chicago.
• 2015 Moderator of ‘Abstraction and the Everyday in Latin American Art’, Redcat, Los
Angeles.
The Paul Brach Visiting Artist Lecture Series, “Contemporary Art in Guatemala,”
CalArts, Valencia, California.
 Speaker at Dirty Geometry Roundtable, Mana Sessions, Mana, Miami, December
• 2014 Speaker at The Making of Feminists. The Reception/Construction of 1970s
female artists from Latin America, Asia and Central and Eastern Europe in the
US" (or: "in New York"), Contemporary and Modern Art Perspectives (C-MAP)
in a Global Age: A Program for Research at The Museum of Modern Art, New
York.
• 2013: Speaker at “Encuentros Transatlánticos: discursos vanguardistas en España y
Latinoamerica,” Museo Nacional Centro de Arte Reina Sofía, Madrid.

Speaker at ‘Microtopías: Historias de Globalidad desde el Sur’ organized by

Miguel López, PARC, Lima, Peru.
Speaker at “Synchronicities, Contacts and Divergences,” A Getty Foundation
“Connecting Art Histories” Initiative, Universidad of Bogota Jorge Tadeo
Lozano, Bogota.
Public Program Conversation with Mari Carmen Ramirez on Latin American
Institutional collections in the USA, Zona Maco Fundación/Colección Jumex,
Mexico City.
“Maria Evelia Marmolejo” a MAAS Talk, Mandragoras Art Space, New York.

• 2012 Speaker at the First International ARTE!Brasileiros Seminar ‘Public Collecting

in 21st Century Brazil’, Auditorium Ibirapuera, Sāo Paulo.

Lecture: On Collaborating, CalArts, Valencia, CA.

Participant at the “Twelfth Annual Contemporary Curators’ Conference” hosted
by the Museum of Fine Arts, MFA, Boston.
Co-organized with Andrea Giunta, Director CLAVIS, Center for Latin American
Visual Studies, Art History (Univ. Texas, Austin) Seminar "Radical Women.
Body and Space in Latin American Art between the 60s and the 80s" for the Latin
American Studies Association LASA Conference, San Francisco.
Speaker at the I Meeting of European and Latin American Museums (Encuentro
de museos de Europa y Latinoamérica), ARCO, Madrid.
Speaker at the AAMC (Association of Art Museum Curators) special session on
Pacific Standard Time: Art in L.A. 1945-1980 during CAA (College of Art
Association) 2012 100th Annual Conference, Los Angeles.

• 2011 Speaker at the Latin American Art in the Now Session at the 11th College of Art
Association Conference, New York.

Conceived and organized the international Symposium Between Theory and

Practice: Rethinking Latin American Art in the 21st Century at the Museum of
Latin American Art, Long Beach, in collaboration with the Getty Research
Institute, at MOLAA and The Getty, March 2011, and November 2011 at MALI,
Lima, Peru.
Lecture on Venezuelan modern women artists, Clavis, University of Texas,
Austin.
Two lectures organized by the Getty Education Department in the context of the
Getty exhibition A Revolutionary Project: Cuba from Walker Evans to Now
which took place both at The Getty and MOLAA, June 11 and 25.
Lecture Suprasensorial in Context for exhibition Suprasensorial: Experiments in
Light, Color and Space, MOCA, Los Angeles.
Round Table Curadores de arte latinoamericano: agendas y desafíos (Latin
American Art Curators: Agendas and challenges), ArteBA, Buenos Aires.
 • 2010 Speaker at “2ndo Fórum Latino-Americano de Fotografia de São Paulo,” Session
Fora de Casa, Centro Cultural Itau, São Paulo.
Lecture Shattering the Stereotype, for The Americas Series 2010, Phoenix Art
Museum, Phoenix, Arizona.
• 2009 Speaker at the Revisiting the Latin Boom Session at the 9th Annual College of Art
Association Conference, Los Angeles.
• 2003 Speaker at Producers: Contemporary Curators in Conversation Series at Baltic,
Newcastle, England.
Organizer/Chair international multidisciplinary Round Table : “Las Múltiples
Éticas de la práctica artística Contemporánea”, ARCO, Madrid.
• 2001 Speaker Round Table in the context of the opening of the exhibition: Políticas de
la Diferencia: Arte Iberoamericano Fin de Siglo, Centro de Convenciones de
Recife, Brazil.
Speaker at Conference on ‘Curatorial Practice and Criticism in Latin America’,
The Center for Curatorial Studies at Bard College, New York.
• 2000 Speaker at the Encuentro de Teoría y Crítica, VII Habana Biennale, Cuba.
Speaker at the 3rd. Dialogos Iberoamericanos, ‘Arte Latinoamericano de los 90s:
La Política de la Diferencia’, Museo de Bellas Artes, Valencia, Spain.
• 1998 Speaker at the ‘1er. Congreso Internacional sobre Pensamiento Europeo-Latino
Americano: Reflejos y Problematizaciones’, University of the Andes (ULA),
Mérida, Venezuela.
Speaker at the 24th Annual Conference of the Association of Art Historians.
Academic Session: ‘Questioning the paradigm of race identity’. University of
Plymouth at Exeter, England.
Speaker at the 2nd Foro Latino-Americano: “Territorios Ausentes”, Museo
Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz y Casa de
América, Madrid.
• 1997 Speaker at the Annual Conference of the Society for Latin American Studies,
University of St. Andrews. Academic Session: ‘Vision and Visuality in Latin
America’, St. Andrews, Scotland.

AFFILIATIONS

• 2011 – present: Member of IKT, the International Association of Curators of Contemporary Art.
• 2010 – present: Member of College Art Association.
• 2009 - Present: Member of the Advisory Committee for the Cisneros Fontanals Arts Foundation (CIFO),
Miami.
• 1995-Present: International Advisory Board Member ESCALA (University of Essex Collection of Latin
American Art), Colchester, England.
• 2017- American Alliance of Museums.

LANGUAGES

• Spanish/Italian: mother tongues

• English: spoken and written
• French: working knowledge