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THE 1980'S: AN INTERNET CONFERENCE
Participants

Maurice Berger - Moderator
Maurice Berger is a Senior Fellow at the Vera List Center for Art and Politics of the New School for Social Research in New York and Curator of the Center for Art and Visual Culture, University of Maryland Baltimore County. His articles have appeared in many journals and newspapers, including Artforum, Art in America, The New York Times, The Village Voice, October, Wired, and The Los Angeles Times. He is the author of the critically acclaimed White Lies: Race and the Myths of Whiteness (Farrar, Straus & Giroux, 1999)—which was named as a finalist for the 2000 Horace Mann Bond Book Award of Harvard University—and eight other books, Labyrinths: Robert Morris, Minimalism, and the 1960s (Harper & Row, 1989), How Art Becomes History (HarperCollins, 1992), Modern Art and Society (HarperCollins, 1994), Constructing Masculinity (Routledge, 1995), The Crisis of Criticism (The New Press, 1998), Postmodernism: A Virtual Discussion (Georgia O’Keeffe Research Center/CAVC, 2003), Masterworks of the Jewish Museum (Yale, 2004), and Museums of Tomorrow: A Virtual Discussion (Georgia O’Keeffe Research Center/CAVC, 2005).

Alexander Alberro
Alexander Alberro, Associate Professor of Art History at the University of Florida, is the author of Conceptual Art and the Politics of Publicity (MIT Press, 2003). His essays have appeared in a wide array of journals and exhibition catalogues. He has also edited and co-edited a number of volumes, including Museum Highlights: The Writings of Andrea Fraser (MIT Press, 2005), Conceptual Art: A Critical Anthology (MIT Press, 2000), and Recording Conceptual Art (University of California Press, 2001).

Elizabeth Alexander
Elizabeth Alexander is the author of four books of poems, most recently American Sublime, and the essay collection The Black Interior.  Alexander has taught at The University of Chicago, Smith College, and New York University and has received grants from the National Endowment for the Arts and the Guggenheim Foundation as well as the George Kent Award, given by Gwendolyn Brooks.  She is a professor at Yale University.

George Baker
George Baker teaches modern and contemporary art history at UCLA and is an editor of OCTOBER magazine.  A long-standing critic for Artforum magazine as well, his recent publications include an edited anthology of essays on the work of James Coleman (MIT Press, 2003), the book "Gerard Byrne:  Books, Magazines, and Newspapers," (Lukas & Sternberg Press, 2004), and catalog essays for the retrospectives of Andrea Fraser, Louise Lawler, Robert Whitman, and filmmaker Anthony McCall.  Last year, he edited a special issue of OCTOBER magazine dedicated to the concept of "relational aesthetics" for which he organized a long interview with the artist Pierre Huyghe.  Currently he is at work on a book on Dada and Francis Picabia entitled "The Artwork Caught by the Tail," to be published next year by the MIT Press.

Judith Barry
Judith Barry is an artist and writer whose work crosses a number of disciplines: performance, installation, sculpture, architecture, photography, new media and exhibition design.  She has exhibited internationally at such venues as the Berlin Biennale, Venice Biennale(s) of Art/Architecture, Sao Paolo Biennale, Nagoya Bienale, Cairo Biennale, Carnegie International, Whitney Biennale, Sydney Biennale, and INsite, among others.   In 2000 she won the “Kiesler Prize for Architecture and the Arts” and in 2001 she was awarded "Best Pavilion" and “Audience Award”  at the Cairo Biennale.  Currently, she is working on a book about art and technology, several installation projects and two web-based works.  Public Fantasy, a collection of Barry’s essays, was published by the ICA, London, edited by Iwona Blazwick (1991).  Recent publications include Projections: mise en abyme, with an essay by Brian Wallis and interview between Judith Barry, Mark Wigley and Brian Wallis, Presentation House, Vancouver 1997; the catalogue for the Frederich Kiesler Prize, Vienna 2000, the catalogue for the8th Cairo Biennale 2001, essay by Gary Sangster, Contemporary Museum, Baltimore and The Mirror and the Garden, Diputacion Granada, Spain with essays by Jan Avgikos and Jean Fisher (2003).  She has taught and lectured extensively in the USA, Japan, and Europe.  Recent full-time positions include the Visual Arts Program at MIT in Boston (2002-2003) and the Merz Akademie in Stuttgart, Germany (2003 – 2004).  Currently, Judith Barry is Director of the MFA in Visual Arts at AIB/Lesley University in Boston.

Max Becher  (Joint Bio with Andrea Robbins)
Andrea Robbins and Max Becher have worked collaboratively for twenty years. They are artists who make photo based conceptual work on the subject of the "transportation of place".  Andrea and Max have taught at the Cooper Union and other institutions, and currently teach at The University of Florida. The work of Robbins and Becher is in the collections of The Guggenheim Museum, NYC, The Whitney Museum of Art, NYC, The Jewish Museum, NYC, The New School of Social Research, NYC, The Los Angeles County Museum of Art, L.A.,CA, The San Francisco Museum of Modern Art, S.F., CA, St. Louis Museum of Art, Ohio, The Museum of Contemporary Photography in Chicago, Center for Creative Photography, Tucson Arizona, Maison Européen de la Photographie (MEP), Paris, France
In October a Mid Career retrospective will be held at the Photographische Sammlung, Cologne and an exhibit of new work; Brooklyn Abroad" will be held in November at the Museum Kunst Palast Dusseldorf, Galerie Senda Barcelona, and the Harn Museum of Art Gainesville Florida. A book of their work called "The Transportation of Place" will be published in January by Aperture Foundation.

Dan Cameron
Dan Cameron has been Senior Curator at the New Museum of Contemporary Art in New York since 1995. He has organized exhibitions of William Kentridge, Paul McCarthy, Cildo Meireles, Faith Ringgold, Doris Salcedo, Carolee Schneemann, David Wojnarowicz, and Martin Wong, among others. He served as curator for the 8th Istanbul Biennial in 2003.

Ondine Chavoya
C. Ondine Chavoya is Assistant Professor of Contemporary Art and Latina/o Studies at Williams College.  His essays have appeared in journals and exhibition catalogues, such as Afterimage, CR: The New Centennial Review, Wide Angle, Performance Research, The Interventionists, Only Skin Deep, andCustomized: Art Inspired by Hotrods, Lowriders and American Car Culture.  In 2004, he co-organized the video retrospective “Michel Auder: Chronicles and Other Scenes,” for the Williams College Museum of Art and wrote the accompanying essay.  He is a 2005-6 Research Fellow in American Modernism at the Georgia O’Keeffe Museum Research Center and a Woodrow Wilson National Fellowship Foundation 2005-6 Career Enhancement Fellow. 

Thomas Crow
Thomas Crow is the Director of the Getty Research Institute, Professor of Art History at the University of Southern California, and a contributing editor of Artforum. The former Robert Lehman Professor of Art History at Yale University, he has authored two influential studies of eighteenth-century French painting: Painters and Public Life in Eighteenth-Century Paris (1985) and Emulation: Making Artists for Revolutionary France (1995). Subsequent publications, includingTheRise of the Sixties: American and European Art in the Era of Dissent and the essay collection Modern Art in the Common Culture (both 1996), examine the later twentieth century, while The Intelligence of Art (1999) analyses specific moments in the history of art. Crow’s most recent texts focus on single artists, including Gordon Matta-Clark (2003), Robert Smithson (2004), and Robert Rauschenberg (forthcoming).

Dorit Cypis
Dorit Cypis, artist and mediator, explores the thresholds of subjectivity in relation to corporeal, social, political and psychological spaces. Cypis, whose work has been exhibited nationally and internationally since the late 1970’, has also developed ambitious public projects, i.e. Kulture Klub Collaborative, artists and homeless youth exploring survival and inspiration. Her current project “Sightlines” will be presented at Los Angeles County Museum of Art in Spring 2006. Cypis also mediates civil cases.

Karen Mary Davalos
Karen Mary Davalos, Associate Professor of Chicana/o Studies at Loyola Marymount University, is author of Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora (University of New Mexico Press, 2001) and a member of the National Advisory Board for A Ver: Revisioning Art History, the only book series on Chicano, Puerto Rican, Cuban, Dominican, and other U.S.-based Latino artists. Her essays have appeared in exhibition catalogues and journals. She is currently writing a manuscript on Museum Culture in Chicana/o Los Angeles, 1963-2005. With generous support from Loyola Marymount University, she co-editsChicana/Latina Studies: the Journal of Mujeres Activas en Letras y Cambio Social.

RoseLee Goldberg
RoseLee Goldberg's seminal book, Performance Art from Futurism to the Present, first published in 1979, pioneered the study of performance art. A graduate of the Courtauld Institute of Art, she was director of the Royal College of Art Gallery in London and curator at The Kitchen in New York. In 1990 she organized “Six Evenings of Performance” as part of the acclaimed exhibition “High and Low: Modern Art and Popular Culture” at the Museum of Modern Art, New York. A frequent contributor toArtforum and other magazines, her books include Live Art Since 1960 and Laurie Anderson. In 2001 Goldberg originated and produced "Logic of the Birds," a full length multimedia production by Iranian born artist Shirin Neshat in collaboration with singer Sussan Deyhim, which premiered at the Lincoln Center Summer Festival in 2002 and toured to the Walker Art Institute in Minneapolis and to Artangel in London. RoseLee Goldberg has lectured extensively and has taught at New York University since 1987. She is founder of PERFORMA, a non-profit interdisciplinary organization committed to the research, development and presentation of performance by visual artists from around the world.

Mary Kelly
Mary Kelly is Professor of Art and Critical Theory at the University of California, Los Angeles. Recent exhibitions include the Museo Universitario de Ciencias y Arte, Mexico City, Generali Foundation, Vienna and the 2004 Biennial, Whitney Museum of American Art, New York.  She is the author of Post-Partum Document (Routledge & Kegan Paul, 1983, reprinted in English and German, Generali Foundation, Vienna and University of California Press, 1998) and Imaging Desire (MIT Press, 1996).  Mary Kelly, a monograph on her work, was published by Phaidon Press, London, 1997.

Christine Kim
Christine Y. Kim is Associate Curator at The Studio Museum in Harlem where she has curated exhibitions such as "Black Belt" (2003), "Meschac Gaba" (2004), and "Africaine" (2002). She organizes the annual artists-in-residence program and exhibition, and has also co-curated exhibitions, such as "Frequency" (2005), with Thelma Golden. A contributor to various journals and publications, Kim has taught at Bard Center for Curatorial Studies and lectures frequently.

George King
George G. King is director, Georgia O’Keeffe Museum, coming to the Museum from the Katonah Museum of Art in Katonah, New York, where he was executive director for ten years.  Before his appointment to Katonah, King held several positions at the Cooper-Hewitt National Design Museum, Smithsonian Institution, in New York City over a six-year period, including program director.
He attended Bennington College in Vermont and the Maryland Institute College of Art, earning his BFA there in art history and painting.  King has served as panelist on a number of arts councils, including Santa Fe Arts Commission, New York State Council on the Arts, Westchester Arts Council and New York State Council for the Humanities. He is a Trustee of the Association of Art Museum Directors (AAMD), was chair of the AAMD’s Program Committee, and is a member of its Professional Issues Committee. He is also a member of the board of directors of the Mountain-Plains Museum Association, as well as a member of the College Art Association and New Mexico Association of Museums.

Wayne Koestenbaum
Wayne Koestenbaum, Professor of English at the CUNY Graduate Center, and Visiting Professor in the painting department of the Yale School of Art, is the author of ten books, including, most recently, Model Homes (poetry), Moira Orfei in Aigues-Mortes (novel), and Andy Warhol (biography).  His next book of poems, Best-Selling Jewish Porn Films, will be published in March 2006.  His essays have recently appeared in The Best American Essays 2004 and the 2004 Whitney Biennial catalogue.

Simon Leung
Simon Leung is Associate Professor of Studio Art and affiliate faculty in the Department of Asian American Studies and the Center in Law, Society and Culture at the University of California, Irvine. As an artist, he has exhibited internationally, including at the Museum of Modern Art; the Museum of Contemporary Art (Los Angeles); the Generali Foundation (Vienna); the Whitney Biennial (1993); the Venice Biennale (2003); and the Luleå Summer Biennial (2005). He is co-editor, with Zoya Kocur, of the anthologyTheory in Contemporary Art since 1985 (Blackwell, 2005).

Catherine Lord
Catherine Lord, a writer, curator and artist, is Professor of Studio Art at the University of California, Irvine.  Her most recent book is The Summer of Her Baldness:  A Cancer Improvisation documents an involuntary performance piece, in cyberspace, occasioned by the diagnosis of breast cancer.   Her writing has been published in various anthologies, as well as in Afterimage, Art & Text, Exposure, and Radical Teacher.   She is the recipient of the Frank Jewett Mather Award in art criticism from the College Art Association.

Barbara Buhler Lynes
Barbara Buhler Lynes, Curator, Georgia O’Keeffe Museum; The Emily Fisher Landau Director, Georgia O’Keeffe Museum Research Center; curator of numerous exhibitions on Georgia O'Keeffe and her American Modernist contemporaries, and author of numerous books and exhibitions catalogues, such as Georgia O’Keeffe and New Mexico: A Sense of Place, Princeton University Press, 2004; Maria Chabot/Georgia O'Keeffe: Correspondence, 1941-1949,  University of New Mexico Press, 2003;O'Keeffe's O'Keeffes: The Artist's Collection. Thames & Hudson, 2001; and Georgia O'Keeffe: Catalogue Raisonné. London and New Haven: Yale University Press; Washington, D.C.: The National Gallery of Art; and The Georgia O'Keeffe Foundation, 1999.

Kathy O'Dell
Kathy O'Dell is Associate Dean of Arts, Humanities, and Social Sciences at the University of Maryland, Baltimore County and the author of Contract with the Skin: Masochism, Performance Art, and the 1970s (University of Minnesota Press, 1998). An art historian and critic, her writings have appeared widely in publications includingArtforum, Art in America, Performance Research, andTDR. O'Dell is also one of the founders of Link: A Critical Journal on the Arts, for which she edited a 2000 issue on the subject of hysteria.

Lorraine O'Grady
Lorraine O'Grady is a photo-installation and performance artist, writer, and critic whose work deals with issues of hybridity, diaspora, cultural politics, and black female subjectivity. She is a former member of the faculties of Studio Art and African American Studies at the University of California, Irvine and is currently a Senior Fellow of the Vera List Center for Art and Politics at the New School. In 1983, she curated the landmark group exhibit, "The Black and White Show," at the East Village's Kenkeleba Gallery.

Olu Oguibe
Olu Oguibe is Associate Professor of painting and African-American studies at the University of Connecticut, and a senior fellow of the Vera List Center for Art and Politics at the New School, New York. He is also an artist, international curator, theorist, and award-winning poet. To date his work has been exhibited in major museums and galleries around the world including the Whitney Museum; Whitechapel Gallery and the Barbican Center, London; Migros Museum, Zurich; the Irish National Museum of Modern Art, and Bonnefantenmuseum, Maastricht, among many others; as well as in the Havana, Busan, and Johannesburg biennials, and satellite exhibitions at the Venice Biennale. His permanent public art works may be found in Nigeria, Germany, Japan and South Korea.
 
Additionally, he has worked as curator or co-curator for a number of international exhibitions including the 2nd Biennale of Ceramics in Contemporary Art in Ligure, Italy in 2003; Vidarte 2002: International Video and Media Art Festival at the Palacio Postal, Mexico City in 2002; Century City at the Tate Modern, London, in 2001;Authentic/Ex-centric: Africa in and out of Africa for the 49th Venice Biennale in 2001, and Five Continents and One City:3rd International Salon of Painting at the Museo de la Ciudad, Mexico City in 2000, among others. He has served as advisor for the Dakar, Johannesburg, and Havana biennials and as critic-in-residence at the Art Omi International artists' residency.
 
Oguibe's critical and theoretical writings have appeared in several key volumes including The Dictionary of Art, Art History and its Methods, Art in Theory 1900-2000, The Visual Culture Reader, The Third Text Reader on Art and Culture, The Black British Culture and Society Reader, and Theory in Contemporary Art: From 1985 to the Present, as well as journalss such as Flash Art, Art Journal, Texte zur Kunst, Zum Thema, Third Text and Criterios. His most recent books include Reading the Contemporary: African Art from Theory to the Marketplace(MIT Press, 2000) and The Culture Game (University of Minnesota Press, 2004).
 
Oguibe previously taught at the University of London School of Oriental and African Studies, Goldsmiths College, London, the University of Illinois at Chicago, and the University of South Florida where he held the Stuart Golding Endowed Chair in African art.

Wendy Perron
Wendy Perron, editor in chief of Dance Magazine, danced with the Trisha Brown Dance Company in the 1970s and has choreographed over 40 works for her own company. She has taught at Bennington College, Princeton University, SUNY Purchase, Mt. Holyoke, NYU, and Rutgers University. She co-organized an exhibit on Judson Dance Theater, the seminal interdisciplinary group of the 1960s that gave rise to postmodern dance. In the mid-70s Ms. Perron wrote for the Soho Weekly News, and became the editor of its “Concepts in Performance” page, an early forum for writing about performance art. She has also contributed articles to The New York Times, the Village Voice, Dance Research Journal, Dance Magazine and to the book Reinventing Dance in the 1960s: Everything Was Possible by Sally Banes.

Andrea Robbins (Joint Bio with Max Becher )
Andrea Robbins and Max Becher have worked collaboratively for twenty years. They are artists who make photo based conceptual work on the subject of the "transportation of place".  Andrea and Max have taught at the Cooper Union, Rutgers University, and currently at The University of Florida. The work of Robbins and Becher is in the collections of The Guggenheim Museum, NYC, The Whitney Museum of Art, NYC, The Jewish Museum, NYC, The New School of Social Research, NYC, The Los Angeles County Museum of Art, L.A.,CA, The San Francisco Museum of Modern Art, S.F., CA, St. Louis Museum of Art, Ohio, The Museum of Contemporary Photography in Chicago, Center for Creative Photography, Tucson Arizona, Maison Européen de la Photographie (MEP), Paris, France
In October a Mid Career retrospective will be held at the Photographische Sammlung, Cologne and an exhibit of new work; “Brooklyn Abroad” will be held in November at the Museum Kunst Palast Dusseldorf, Galerie Senda Barcelona, and the Harn Museum of Art Gainesville Florida. A book of their work called The Transportation of Place will be published in January by Aperture Foundation.

David A. Ross
David A. Ross is President of the Artist Pension Trust, a financial service company working exclusively for visual artists.  Mr. Ross has been a leader in the arts community for more than 30 years, serving nearly 20 years as a director at the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Institute of Contemporary Art, Boston.

A Trustee of the Studio Museum in Harlem and Chairman of the Anaphiel Foundation, Mr. Ross is also on the Board of the American Anti-Slavery Group, Rhizome, and the Committee Scientifico of the Fondazione CRTin Turin, Italy.

Irving Sandler
Irving Sandler is Professor Emeritus of Art History at the State University of New York at Purchase and a former Acting-Director of the Neuberger Museum of Art. He has written a four-volume history of art since 1945, consisting of The Triumph of American Painting: A History of Abstract Expressionism (1970), The New York School: Painters and Sculptors of the 1950s (1978), American Art of the 1960s (1988), and Art of the Postmodern Era: From the Late 1960s to the Early 1990s (1996). He has also edited (with Amy Newman) Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. (1988). In addition, he has written monographs on Alex Katz, Al Held, Philip Pearlstein, and Mark di Suvero, numerous catalogue introductions and articles in Art News, Artforum, Art in America, Art International, Arts Magazine, and The New York Times. He was the art critic of theNew York Post (1961-65) and is currently a contributing editor toArt in America. He was a trustee of the Mark Rothko Foundation and a co-founder and board member of Artists Space, a former board member of the College Art Association, and a former president and current board member of the American Section of the International Art Critics Association.

Carolee Schneemann 
Carolee Schneemann is a multidisciplinary artist who has transformed the very definition of art, especially with regard to discourse on the body, sexuality and technology. Her video, film, painting, photography performance art and installation works have been shown at the Los Angeles Museum of Contemporary Art, the New Museum of Contemporary Art, NYC, as well as in Europe.  In 2002, Imaging Her Erotics - Essays, Interviews, Projects was published by MIT Press; previous published books include More Than Meat Joy: Complete Performance Work and Selected Writing (1979, 1997).

Lowery Stokes Sims
Lowery Stokes Sims is President and past Executive Director of The Studio Museum in Harlem.  Prior to her appointment in January 2000, she was Curator of Modern Art at The Metropolitan Museum of Art, on staff since 1972. Sims received her Ph.D. in art history in 1995 from the Graduate School and University Center of the City University of New York.  She has curated or co-curated over 30 exhibitions at the Metropolitan Museum, the Studio Museum and in art institutions internationally, and written extensively on modern and contemporary artists with a focus on the work of African-American, Latino, Asian and Native American artists. She is currently Chair of the Cultural Institutions Group, a coalition of 34 museums, historical societies, botanical gardens and zoos in New York City.

Franklin Sirmans
Franklin Sirmans is an independent curator and freelance writer based in New York City. A former Editor ofFlash Art and Art AsiaPacific magazines, Sirmans has written for several publications including The New York Times andEssence. He was cocurator of Basquiat, One Planet Under A Groove: Contemporary Art and Hip Hop and Make It Now: New Sculpture in New York. He teaches at the Maryland Institute College of Art and Princeton University.

Carol Squiers
Carol Squiers is a writer, editor and curator who lives in New York City.  Received a B.A. in Art History from the University of Illinois in Chicago and did graduate study in art history at Hunter College at the City University of New York. As Curator at the International Center of Photography, New York (2000-present), has organized the exhibitions for the five-part series “Imaging the Future: The Intersection of Science, Technology, and Photography,” including “Perfecting Mankind: Eugenics and Photography” (2001) and “Foreign Body: Photography and the Prelude to Genetic Modification” (2002).  Curator of the forthcoming exhibition, The Body at Risk: Photography of Disorder, Illness, and Healing, and author of its fully illustrated catalogue (University of California Press, 2005). Edited the collection Overexposed: Essays on Contemporary Photography (The New Press, 2000).  Has written essays for a wide variety of publications, includingArtforum, The New York Times, Vogue, Vanity Fair, Parkett, Art in America, and Aperture, and for books and catalogs, including Strangers: The First ICP Triennial of Photography and Video (Steidl and ICP, 2003); Peek: Photographs from the Kinsey Institute (Arena Editions, 2000); and Barbara Kruger: A Retrospective (The Museum of Contemporary Art, Los Angeles, 1999). 

Michele Wallace
Michele Wallace, Visiting Professor of Africana Studies at Cornell University, on leave from position as Professor of English, Women's Studies and Film Studies at the City College of New York and the CUNY Graduate Center, author of Dark Designs and Visual Culture (Duke UP 2005), Invisibility Blues: From Pop to Theory (Verso 1990) andBlack Macho and The Myth of The Superwoman (Verso 1990 reissue; 1979 Dial Press).

Oliver Wasow
Oliver Wasow is an artist/photographer and an adjunct professor of photography at the School of Visual Arts in NYC and Bard College's MFA Program.  His photographs are represented by the Janet Borden Gallery in NYC and have been exhibited widely in the US and throughout the world.  His artwork is included in a number of prominent private and public collections, including the Whitney Museum and the Museum of Modern Art in New York.  His work has been reviewed in most major art publications, includingArtnews, Artforum, and The New York Times.  During the 1980s he was the owner and director of the Cash/Newhouse Gallery on NYC’s Lower East Side.

Jonathan Weinberg
Jonathan Weinberg is a painter and art historian.  He is currently a 2005-6 J. Clawson Mills Art History Fellow at the Metropolitan Museum of Art and a recipient of a 2002 Guggenheim fellowship.  He is the author of Male Desire: the Homoerotic in American Art (2005);Fantastic Tales: the Photography of Nan Goldin (2005); Ambition and Love in Modern American Art (2001); and  Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley and the First-American Avant-Garde  (1993).  Weinberg’s paintings, which are in several public collections including the Metropolitan Museum of Art and the Montclair Art Museum, can be seen on his website: www.jonathanweinberg.com.  He is currently working on a book entitled Belated Bohemia: Art and Identity in the East Village.

Linda Yablonsky
Linda Yablonsky is the author of a novel, The Story of Junk, and an art critic based in New York, where she teaches at the School of Visual Arts in New York. She is a frequent contributor to The New York Times, Bloomberg News, Time Out New York, Artforum.com and ARTNews, where she is also a contributing editor. Additionally, she was founding program director for WPS1.org, the Internet-based art radio station from P.S.1/MoMA creating and producing its original talk and historical shows. Her essays have appeared in several anthologies, including Curve: The Female Nude Now (Rizzoli, 2005), O.K. You Mugs: Writers on Movie Actors (Pantheon, 1999), The Time Out Book of New York Walks (Penguin, 2000) and a number of exhibition catalogs