Billy Friebele is a multimedia artist whose work examines expanded notions of drawing utilizing digital tools such as GPS, microcontrollers, video, animation and kinetic sculpture. He received a MFA from the MICA (MFAST – Class of 2008) and a BA in Philosophy from St. Mary’s College of Maryland. Billy has exhibited at the Baltimore Museum of Art, the Katzen Arts Center at American University, the Orlando Museum of Art, and the Art Museum of the Americas in Washington, DC. Recently he exhibited in Sarajevo, Bosnia; Jatiwangi, Indonesia; and Amsterdam, Netherlands, among other places. He was the recipient of the two-year Hamiltonian Fellowship from emerging artists, Billy is also a Maker-in-Residence at the MLK Jr. Library in Washington, DC. Billy is Assistant Professor at Loyola University in Baltimore, MD.

Cecilia Vicuña is a poet, visual artist, and filmmaker born in Santiago de Chile. The author of more than twenty books of poetry, she exhibits and performs internationally. Her multi-dimensional works begin as an image that becomes a poem, a film, a song, a sculpture, or a collective performance. She calls this impermanent, participatory work “lo precario” (the precarious), a series of transformative acts or “metaphors in space” that bridge the gap between art and life, the ancestral and the avant-garde. In 1967 she founded Tribu No, a collective that produced anonymous poetic actions throughout Santiago de Chile. Exiled in London, she co- founded Artists for Democracy in 1974 to oppose dictatorships in the Third World. In 1975 she moved to Bogotá, Colombia, where she worked with Corporación Colombiana de Teatro. She arrived in New York in 1980, where she joined the Heresies Collective that published Heresies: A Feminist Publication on Art and Politics. Her most recent books are: Spit Temple: Selected Oral Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012); Chanccani Quipu (Granary Books, 2012); and Sabor a Mí (Chain Links, 2011). She also co-edited The Oxford Book of Latin American Poetry (New York, 2009). Her most recent group exhibitions are artevida at Museu de Arte Moderna do Rio de Janeiro (Brazil, 2015); The 18th Sydney Biennale (Australia 2012); Dance/Draw (ICA Boston, 2011); and onLINE (MoMA, 2010). Some of the collections that house her work are: Tate Gallery (London); Museo de Arte Contemporáneo de Chile (Santiago de Chile); MoMA, the Museum of Modern Art in New York.

She was appointed Messenger Lecturer 2015 at Cornell University, an honor bestowed on authors who contribute to the "Evolution of Civilization for the special purpose of raising the moral standard of our political, business, and social life."She lives in New York, where she co-founded oysi.org, a site for the oral cultures and poetries of the world.

Grant Kester is Professor of Art History at UC San Diego and the founding editor of FIELD: A Journal of Socially Engaged Art Criticism. Kester is one of the leading figures in the emerging critical dialogue around “relational” or “dialogical” art practices. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011). His curatorial projects include “Unlimited Partnerships: Collaboration in Contemporary Art” at CEPA Gallery in Buffalo, New York in 2000 and “Groundworks: Environmental Collaborations in Contemporary Art” at Carnegie Mellon University in 2005. Kester's essays have been published in The Blackwell Companion to Contemporary Art Since 1945 (Blackwell, 2005), Theory in Contemporary Art Since 1945 (Blackwell, 2004), Poverty and Social Welfare in America: An Encyclopedia (ABC-Clio, 2004), Politics and Poetics: Radical Aesthetics for the Classroom (St. Martins Press, 1999), the Encyclopedia of Aesthetics (Oxford University Press, 1998), and Ethics, Information and Technology: Readings(McFarland, 1997) as well as journals including Afterimage, Art Journal, E-Flux Journal, October,Variant (Scotland), Public Art Review, Exposure, The Nation, Third Text, Social Text and Art Papers. He is currently completing an anthology of writings by art collectives working in Latin America, in collaboration with Bill Kelley.

Jeannine Tang is an art historian and critic who received her M.A. and Ph.D. from the Courtauld Institute of Art, and holds a B.A. from the National University of Singapore. Previously a Terra Foundation fellow at the Smithsonian American Art Museum, she was also a Critical Studies participant at the Whitney Museum Independent Study Program. Her writing has appeared in venues such as Artforum; Art Journal; Theory, Culture & Society; Afterimage; journal of visual culture; Art India; Broadsheet, among others. Recent and forthcoming essays in books have focused on institutional critique and the afterlife of art (Provenance: An Alternate History of Art, Getty Research Institute 2012); feminism and international survey exhibitions (Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgression, Liverpool University Press 2013); spectatorship and indigenous sovereignty (Critical Landscapes, University of California Press, 2014); temporalities after postmodernism (Time/Image, 2014-2015). She has published on the work of Cheo Chai- Hiang, Maria Eichhorn, Simryn Gill, Andrea Geyer, Hans Haacke, Sharon Hayes, Martin Beck, among others. She is at work on two book projects: a study of convergences between contemporary art and the 1970s information age, featuring case studies on Marshall McLuhan, John B. Hightower, Margia Kramer, Lucy Lippard, Martha Rosler and others; and a history of cultural and workplace flexibility between 1980-2000s. General research interests include modern and contemporary art, critical histories and theories of feminism, colonialism, social justice and media. CCS Bard core faculty (2010–present) and Graduate Committee (2011–present).

Fritz Horstman works with the landscape and the perception of the perception of natural phenomena. He has recently exhibited his sculptures, drawings, videos, sound and installations in Brooklyn, Japan, France, and California, and will be featured in the 2016 deCordova Biennial. He is a member of Ortega y Gasset Projects in Brooklyn, NY. Recent artist residencies include Shiro Oni Studios in Onishi, Japan, and the Arctic Circle Residency. He lives and works in Bethany, CT, where in addition to his work as an artist he is artist residency and education coordinator at the Josef and Anni Albers Foundation, and is a lecturer at Yale College. He received his BA from Kenyon College and MFA from MICA.

Alexander Alberro is the Virginia Bloedel Wright Professor of Art History at Barnard College, Columbia University. He received his M.A. degree in Art History from the University of British Columbia, and his Ph.D. in Art History from Northwestern University. Alberro's writings have appeared in a wide variety of journals and exhibition catalogues. He is also the author of Abstraction in Reverse: The Reconfigured Spectator in Mid- Twentieth Century Latin American Art (University of Chicago Press, forthcoming); Conceptual Art and the Politics of Publicity (MIT, 2003), and has edited books on contemporary art including Working Conditions: The Writings of Hans Haacke (MIT, forthcoming), Institutional Critique: An Anthology of Artists Writings; Art After Conceptual Art (MIT, 2009); Museum Highlights (MIT, 2005), Recording Conceptual Art (University of California, 2001), Two- Way Mirror Power (MIT 1999); and Conceptual Art: A Critical Anthology (MIT, 1999). Alberro is a recipient of fellowships from the National Endowment of the Humanities, the George A. and Eliza Howard Foundation, and the Whitney Museum of American Art, and has taught at the University of Florida and the University of California at Berkeley. He is presently at work on a volume that explores the new forms of art and spectatorship that have crystallized in the past two decades. He has been a featured speaker at many universities and cultural institutions throughout the world, and has appeared in several documentary films on contemporary art.

René Treviño was born in Kingsville, Texas. He received his BFA in Fine Arts from the School of Visual Arts (SVA) in 2003 and his MFA from the Maryland Institute College of Art (MICA) in 2005. He has shown at the Wadsworth Athenaeum in Hartford, CT; the Baltimore Museum of Art, Goliath Visual Space in Brooklyn, NY; White Box in New York, NY; the Delaware Center for Contemporary Art in Wilmington, DE; the Arlington Arts Center in Arlington, VA; the Fine Arts Work Center in Provincetown, MA; and Pentimenti Gallery in Philadelphia, PA. He was also included in the 2007 WPA/Corcoran OPTIONS Biennial in Washington DC and was awarded a 2009 Baltimore Creative Fund Individual Artist Grant and won the 2009 Trawick Prize. Additionally he has been an Artist in Residence at Serenbe in Chattahoochee Hills, GA; Creative Alliance in Baltimore, MD; and The Studios of Key West in Key West, FL. His work has been featured in Art Papers, New American Painters, Baltimore Sun, Baltimore City Paper, Philadelphia Enquirer, Washington Blade, Washington Post, Dallas Observer, D Magazine, Art F City, as well as several online publications. Trevino currently resides in Baltimore, MD and teaches at Towson University and MICA, and is represented by the Erin Cluley Gallery in Dallas, TX.