Anna C. Chave, Professor of Art History at Queens College and the Graduate
Center, CUNY, has published numerous essays concerned with issues of
reception, interpretation, and gender in 20th century art. Her most recent
writings include “‘Normal Ills’: On Embodiment, Victimization, and the Origins of
Feminist Art,” in Trauma and Visuality in Modernity. Her subjects have ranged
from early Picasso and Georgia O’Keeffe to Jackson Pollock and Eva Hesse. She
is also known for revisionist readings of Minimalism.

Elin Diamond is the author of Unmaking Mimesis: Essays on Feminism and
Theater and Pinter’s Comic Play, and the editor of Performance an Cultural
Politics. Among her many journal publications are essays on 17th- and 20thcentury
drama, and Freudian, Brechtian, and feminist theory. Her work continues
to explore connections between performance, feminist, and critical theory, using
texts from early modernism through postmodern art. She is currently at work on
a book on modernism and transatlantic performance.

Sgt. Coco Fusco received her training in military intelligence from Team Delta
in 2005. She has been touring the US, Europe and New Zealand for the past two
years, delivering lectures on the ways that female intelligence is used to thwart
terrorism. One of her lectures will be published in 2008 in The Drama Review.

Joan Marter is Distinguished Professor of Art History at Rutgers. She serves
as Director of Graduate Studies in Art History, and as Director of the Certificate
Program in Curatorial Studies. Professor Marter has been Editor of Woman’s Art
Journal for three years and has been key to its survival. In addition to her books
on sculptor Alexander Calder, Pop Art at Rutgers, and other subjects, she is
the editor of Abstract Expressionism, The International Context. In 1997, Marter
organized “Women and Abstract Expressionism, 1945-1959,” which was honored
by the International Association of Art Critics.

Aviva Rahmani’s work has reflected environmental and social concerns
over almost forty years. With a focus on global warming, she has turned
to digitalization and virtuality in dialogues with scientists, as shown in this
year’s “Weather Report,” curated by Lucy Lippard for the Boulder Museum
of Contemporary Art. Her recent work evolved from a 2006 online “Virtual
Residency,” with curator Anke Mellin of Germany and exhibitions in South Korea,
India, and Italy. Products of Rahmani’s previous projects have been in over thirty
solo and fifty group shows nationally and internationally.

Susan Sidlauskas teaches the history and theory of modern art in the Art
History Department at Rutgers, where she is also affiliated with the Women’s
and Gender Studies Department. She is the author of Body, Place and Self
in Nineteenth-Century Painting, and has a forthcoming essay called “Not
Beautiful: A Counter-Theme in the History of Women’s Portraiture,” in Portrait-ing
Women. She is also in the early stages of a new photography project about the
intersection of medical imaging and portraiture in 19th century culture.

Abigail A. Van Slyck holds the Dayton Chair in Art History at Connecticut
College, where she also directs the Architectural Studies program. She is the
author of two books: A Manufactured Wilderness: Summer Camps and the
Shaping of American Youth, 1890-1960 and Free to All: Carnegie Libraries and
American Culture, 1890-1920. She recently served as guest curator at the Lyman
Allyn Art Museum for Commerce and Culture: Architecture and Society on New
London’s State Street. A past president of the Vernacular Architecture Forum,
she currently serves on the board of the Society of Architectural Historians.

Kristine Stiles is a professor of Art, Art History & Visual Studies. She is a
specialist in contemporary art and theory, and internationally recognized for her
scholarship on performance art, as well as destruction, violence, and trauma
in art. She is the recipient of numerous fellowships, including a John Simon
Guggenheim for her work on documentary photography of the nuclear age. She
has published widely in US and international art journals, as well as taught and
lectured internationally on the subject of “cultures of trauma,” the term she
coined in 1993. Stiles is also an artist and equestrian.

Despina Stratigakos is an architectural historian with an overarching interest
in gender and modernity in European cities. Her forthcoming book, A Women’s
Berlin, investigates the conception of a city built by and for women, a place that
was imagined and partially realized in the years before the First World War. She
has published on the public image of women architects; the gender politics of
the Werkbund; connections between architectural and sexual discourses in
Weimar Germany; and exiled Jewish women architects in the United States.

Midori Yoshimoto is assistant professor of art history and gallery director
at New Jersey City University, specializing in Japanese avant-garde art of the
1960s. Her publications include Into Performance: Japanese Women Artists in
New York and an essay in Japanese Women Artists in Avant-garde Movements,
1950-1975. She curated exhibitions such as Do-It-Yourself Fluxus and Resonance:
Five Asian Women Artists in New Jersey. She is currently editing an issue of
Women and Performance journal. In November she will be presenting and
chairing a panel at the Performance Studies International Conference.

Andres Mario Zervigon is Assistant Professor of Art History at Rutgers
University, where he focuses his research and teaching on the history of
photography. Zervigon’s early work focused on the demise of Berlin’s Dada
movement. He then focused on one of that movement’s members, John
Heartfield, on whom Zervigon curated an exhibition at the Getty Research
Institute that later traveled to the Wolfsonian Museum. He is currently
completing a book on Heartfield entitled The Agitated Image: John Heartfield,
Photomontage and the German Avant-Garde 1917-1930.