Ulises Carrión (1941-1989), perhaps Mexico’s most important conceptual artist, is widely known for his decisive role in defining and conceptualizing the artistic genre of artists’ book through his manifesto, “The New Art of Making Books” (1975). He began his artistic career as a poet in Mexico City, but quickly moved to a great number of genres including “bookworks” (as he named artists’ books), performance, film, video, and sound works, as well as public artworks and several publishing and curating projects, including the legendary Amsterdam bookshop gallery Other Books and So, and significant distribution and archiving initiatives for the international community of mail artists during its most creative period. Significant retrospective exhibitions of Carrión’s work have been presented at Museo Carrillo Gil in Mexico City (2002), Reina Sofia in Madrid (2016) and Museo Jumex in Mexico City (2017).

Verónica Gerber Bicecci is a visual artist who writes. Her books include Mudanza (Almadía) and Empty Set (Coffee House Press; tr. Christina MacSweeney), winner of the 3rd International Aura Estrada Literature prize and the Otra Mirada Cálamo prize. Her most recent exhibits and projects were presented at muca Roma (Mexico City), the Museo de Arte Abstracto Manuel Felguérez (Zacatecas), and at Whitechapel Gallery (London). She was an editor at the Mexican publishing cooperative Tumbona Ediciones (2010–2017) and tutor of the Photography Production Seminar (2016-2018) at Centro de la Imagen. She presently teaches on the SOMA program in Mexico City and is a beneficiary of FONCA’s National System of Art Creators.

Scholar and critic Annette Gilbert’s research and teaching focus on the literary avant-garde, the history of the book, self-publishing, piracy/samizdat publishing, Moscow conceptualism, digital poetry, concrete poetry, and the materiality and mediality of literature. Recent book publications in English include Under the Radar. Underground Zines and Self-Publications 1965–1975 (Spector Books), Publishing as Artistic Practice (Sternberg Press), and Re-Print. Appropriation (&) Literature (luxbooks).

Mónica de la Torre’s books include Repetition Nineteen (Nightboat) and The Happy End/All Welcome (UDP), as well as Public Domain, Talk Shows, as well as two books in Spanish, Acúfenos and Sociedad Anónima. She is the translator of Defense of the Idol (UDP) by Chilean modernist Omar Cáceres, and co-editor of Reversible Monuments: Contemporary Mexican Poetry (Copper Canyon Press), and is a member of the editorial board of the Señal series at UDP. Born and raised in Mexico City, she has lived in New York City since the 1990s. She is a contributing editor to BOMB Magazine where she previously worked as a Senior Editor. She teaches poetry at Brooklyn College.

Michalis Pichler is a Berlin-based artist, artists book publisher (Greatest Hits), and organizer of the art book fair Miss Read. A monograph on Pichler’s work was co-published by Printed Matter and Spector Books in 2015. Pichler’s artists books make strategic use of found and pre-used material, including sources derived from image, object, sound, text, or thought.

Writer, critic, psychotherapist, and literary provocateur, Heriberto Yépez has been called “one of the best writers and chroniclers of contemporary Mexico” of his generation. Several of his works have been translated into English, including the controversial book, The Empire of Neomemory (ChainLinks).

India Johnson is an artist and bookbinder who makes ‘concrete books’—sculptural books that use volume as structural agent. She attended fine binding school at the LLOTJA Book Arts Conservatory, and holds an MFA from the University of Iowa Center for the Book.

Felipe Becerra is a Chilean writer and Ph.D. candidate in the Latin American and Iberian Cultures program at Columbia University. His research focuses primarily on publishing projects as authorial practice in Latin America from the ’60s through the ’80s. His most recent book is La próxima novela (The Next Novel).