“La abstracción dialógica de Margarita Azurdia” in Margarita Azurdia. Margarita Rita Rica Dinamita, Ed. Rosina Cazali. Museo Nacional Centro de Arte Reina Sofía, Madrid, 2022.
“The Emancipatory Pop of Sonia Gutiérrez/ El pop emancipador de Sonia Gutiérrez,” Art Nexus, Fall 2022.
“Christina Fernandez: The political agency of the self and the other in photography” inChristina Fernandez: Multiple Exposures, Eds. Rebecca Epstein and Joanna Szupinska California Museum of Photography at UCR ARTS and the Chicano Studies Research Center at UCLA, Distributed by University of Washington Press, 2022.
“The Gendered Political Embodiment of Feliza Bursztyn’s Work” in Feliza Bursztyn:
Welding Madness, edited by Marta Dziewańska and Abigail Winograd. Susch, Switzerland: Muzeum Susch and Milan: Skira, 2022.
Valerie Brathwaite en Writings Sept 21
“Claudio Correa y la hiperrealidad de una historiografía reprimida” in Luces parpadeantes:
violencia y emblemas institucionales en la obra de Claudio Correa. Santiago de Chile: Ediciones Metales Pesados, 2021.
“Carla Chaim: Multiverse Body–Mind”, Art Nexus, Spring 2021.
Elena de Rivero
“Hash Brownies” after Alice B. Toklas , Henrique Faria Fine Art, New York, Spring 2020.
Coraza
Magali Lara, Walden Gallery, Buenos Aires, 2020
more information: http://www.waldengallery.com/exhibiciones#/coraza-magali-lara/
“Solange Pessoa: Situation – Body – Landscape”
In Solange Pessoa, Copyright © 2020 by Circle Books, New York. Excerpt. The full essay can be found in the book, available here. more information: http://circle-llc.com/publications/solange-pessoa
“Laercio Redondo: The Opacity of the Modern”
In The Simplest Thing is the Hardest to Do, Mies van der Rohe Pavilion, Barcelona, Spain. Digital publication Fall 2020.
“Freda Sargent: una artista moderna contemporánea”
In Freda Sargent, Colección Libro de Arte Davivienda 2019, Ediciones Gamma, Bogota, 2019.
Yeni & Nan: Nacimiento
Henrique Faria Fine Art, New York, May 2018.
more information: https://www.henriquefaria.com/
“To Overflow the Limits. Nothing is Impossible. Everything is Possible”
In Out of Frame: Gabriel de la Mora, ed. by Fabiola Iza. Mexico City, 2018
more information: http://gabrieldelamora.com/fueradecuadro/fueradecuadro-eng.html
“The Limit of the Invisible: Black, Feminine” in Sonia Gomes:
Life is Reborn/Still I Rise, eds Amanda Carneiro and Raphael Fonseca. Rio de Janeiro: MAC Niteroi and Sao Paulo: MASP, 2018.
“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.
“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.
“La abstracción dialógica de Magdalena Atria,” in Magdalena Atria. Santiago de Chile:
Fondart and Consejo Nacional de la Cultura y las Artes, 2016.
“Adriana Bustos’Anthropophagy” in Transcultural Flux, ed. by Malin Barth. Bergen, Norway:
TrAP and Stiftelsen 3,14, 2016.
“Teresa Burga: Open Work,” Camera Austria International 132.
Graz, Austria: 2015.
“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.
more information: https://www.chicano.ucla.edu/files/Valverde_catalog.pdf
“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.
“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.
“Carlos Cruz-Diez: ‘Some Paradoxes in Carlos Cruz-Diez ‘Chromatic Event”,
in Circumstance and Ambiguity of Color, New York: Maxwell Davidson Gallery, 2013.
“Maria Evelia Marmolejo’s Political Body,” Art Nexus 85.
Miami: 2012.
“Elias Crespin: The Interplay between the Material and the Immaterial” in Elias Crespin:
Parallels. New York: Cecilia de Torres, 2012.
“Play-Back” in Rafael Lozano-Hemmer Recorders, Manchester, UK:
Manchester Art Gallery, 2010.
Leandro Erlich: Lost Garden. MoLAA Project. Long Beach: MoLAA, 2010.
“Artur Lescher: The Meaningful Geometry,” Arte al Día International 124.
Miami: September 2008.
more information: https://www.artealdia.com/International/Contents/Artists/Artur_Lescher
“Miguel Angel Ríos” entry Blanton Museum of Art Latin American Collection. Austin, Texas:
Blanton Museum of Art, The University of Texas at Austin, 2006
“Jimmie Durham” in Black My Story, Museum de Paviljoens, Almere, Netherlands, 2003.
La contextualidad abierta de Mona Hatoum, (The open contextuality of Mona Hatoum) Sala Mendoza, Caracas, Venezuela. 2001
Susan Hiller Video-Instalaciones. Sala Mendoza, Caracas, 2001
“Mona Hatoum”, in Pervirtiendo el Minimalismo, ed. by Gerardo Mosquera. Madrid:
Centro de Arte Reina Sofía, 2000.
“Primer Plano: José Bedia: Crónicas Americanas,” Art Nexus 26. Miami/Bogota:
October 1997.
Roberto Burlemarx: El Parque del Este de la Ciudad de Caracas.
Caracas: Sala Mendoza, 1992.