Artur Barrio (b. 1945, Portugal) is a Luso-Brazilian artist whose wide-ranging conceptual work in photography, film, performance, and installation embraces ephemerality and political critique. A pivotal figure of action art and conceptualism in Brazil, he has often employed participatory strategies and nontraditional materials to merge art and everyday life. Foundational pieces such asSituações(Situations, 1970) andLivro de Carne(Book of Meat, 1978) conveyed a distrust in the value of the art object and pointed explicitly to the violence and oppression sanctioned by Brazil’s decades-long military dictatorship. Barrio’s work has been the subject of many exhibitions, including the 2018 retrospectiveArtur Barrio: Experiencias y situacionesat the Museo Nacional Centro de Arte Reina Sofía, Madrid.

Oscar Bony (1941–2002, Argentina) was an Argentine artist whose work ranged from painting to film, and who achieved renown as a photographer later in life. His early conceptual works included60 metros cuadrados y su información(60 Square Meters and Its Information, 1967) andLa Familia Obrera(The Working Family, 1968), for which he installed three family members on a platform at Buenos Aires’s Instituto Di Tella, testing the limits of what could be considered art. His later photographs explored taboo subjects such as sexuality and violence, and embraced experimental techniques. His work was presented in the solo exhibitionOscar Bony: El magoat the Museo de Arte Latinoamericano de Buenos Aires (MALBA) in 2008.

Carmelo Carrá (b. 1945, Italy) is an Italian-born Argentine artist whose vibrant, pulsating paintings meld surreal imagery with a Pop sensibility. Making use of a saturated color palette, thick outlines, and optical effects, his work has drawn from the realms of dreams and popular culture, encompassing psychedelic and figurative styles. Carrá’s work has been shown at Galería Central de Arte in Chile, among other institutions, and belongs to the collections of the Museo Nacional de Bellas Artes in Buenos Aires, the Museo de Arte Moderno de Buenos Aires, and the Bibliothèque nationale de France in Paris.

Feliciano Centurión (1962–1996) was born in San Ignacio de las Misiones, Paraguay, in 1962 and settled in Argentina in 1974. Celebrated for his introspective work, he is best known for his embroidered and painted textiles that engage with folk art and queer aesthetics, produced using repurposed cloth and often embellished with diaristic phrases. Centurión was part of the group of artists associated with the gallery of the Cultural Center Ricardo Rojas at the University of Buenos Aires in the 1990s and represented Paraguay in the fifth Havana Biennial in 1994. His first retrospective in the United States, Feliciano Centurión: Abrigo, was presented at Americas Society in New York in 2020.

David Lamelas (b. 1946, Argentina) is a key figure in the history of conceptual art and experimental film. Comprising film, video, performance, photography, sculpture, installation, and drawing, his complex practice excavates the viewer’s perception and critically assesses the mechanisms of cultural production. Central to Lamelas’s oeuvre is the notion of time and what people make of it. His work has been the subject of several solo exhibitions, includingDavid Lamelas, Extranjero, Foreigner, Étranger, Ausländerat the Museo Tamayo, Mexico City, and the Museo de Arte Latinoamericano de Buenos Aires (2006), andTime as Activity: David Lamelasat the Hunter College Art Galleries, New York (2021).

Carlos Motta (b. 1978, Colombia) documents the social conditions and political struggles of sexual, gender, and ethnic minority communities in his multidisciplinary art practice, challenging normative discourses through acts of self-representation. As a historian of untold narratives, Motta is committed to in-depth research into postcolonial subjects and societies. His work encompasses video, installation, sculpture, drawing, web-based projects, performance, and symposia, and has been the subject of solo exhibitions at the New Museum, New York (2012); the Röda Sten Konsthall, Gothenburg (2015); and the Museo de Arte Moderno de Medellín (2017).

Wynnie Mynerva(b. 1993, Peru) lives and works in Lima. Taking the form of sumptuous paintings of abstracted figures, their work centers around gender politics, queer aesthetics, and feminine desire, exploring the dichotomy between masculine and feminine in patriarchal society. Mynerva studied the history of art at the Universidad Nacional Mayor de San Marcos and fine arts at the Escuela Nacional Superior Autónoma de Bellas Artes del Perú. They have participated in residencies at Fountainhead in Miami, Uberbau in São Paulo, and AMIL in Lima, and have had recent solo exhibitions at Galería Ginsberg, Lima (2019); the Museo Amano, Lima (2020); and LatchKey Gallery (2021).

La Chola Poblete (b. 1989, Argentina) is a multidisciplinary artist who works in performance, video, photography, painting, and drawing. She studied visual arts at the Universidad Nacional de Cuyo. Her work addresses the dilemmas of her mestiza heritage, focusing on the figure of the chola, a cultural identity in which the tensions inherent to the Indigenous population—labor exploitation, social marginalization, aesthetic exoticization, commercial circulation—similarly come to the fore. Based in the critical use of stereotypes, her practice presents a sophisticated queer imaginary capable of putting cultural paradigms and gender taxonomies in crisis. Her work has been included in shows at the Centro Cultural San Martín, Buenos Aires (2018); Museo Carlos Alonso, Mendoza (2019); and Pasto Galería, Buenos Aires (2021); among other venues.

Tadáskía (b. 1993, Brazil) is an artist and writer based in Rio de Janeiro and São Paulo. Her work in drawing, photography, installation, and textile mobilizes stories, geographies, and the material and immaterial relations that can arise between the world and living things. Moreover, she seeks to elaborate the visible and invisible experiences of the Black diaspora, resulting from both familiar and unusual encounters. Tadáskía exhibited her work at the Museu de Arte do Rio, the Paço Imperial, and the Escola de Artes Visuais do Parque Lage in Rio de Janeiro; the Framer Framed in Amsterdam; and Sé Galeria, Pivô, Auroras, and the Museu de Arte Moderna in São Paulo.

Castiel Vitorino Brasileiro (b. 1996, Brazil) develops survival and healing strategies for bodies in constant flight, those of the Black and trans populations targeted by a state-sanctioned politics of death. Based on practices adopted from psychology and Afro-Brazilian syncretic religions, her work looks to resignify traumas and turn them into instruments of self-care, fostering freedom from the violence of procedures authorized by state and capitalist health systems. Her practice also involves organizing collective situations for the purpose of sharing healing practices. Recently, Vitorino Brasileiro’s work has been presented at Galería Homero Hassena, Vitória, Brazil (2019); the Berlin Biennale for Contemporary Art (2020); and the Hessel Museum of Art in Annandale-on-Hudson, NY (2021).