Yve-Alain Bois is a professor of art history at the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey. Bois has written widely on modern and contemporary art, and his 2005 essay on Sandback’s work has remained one of the most influential pieces of scholarship on the artist to date.

Benjamin H.D. Buchloh has been the Andrew W. Mellon Professor of Modern Art at Harvard University since 2006. He is internationally recognized as one of the most important scholars of twentieth century art. Buchloh received his PhD from the City University of New York in 1994, and has since published widely on European and American artists including Gerhard Richter, Hans Haacke, and Andy Warhol. He is the co-editor of the art journal October, and he was awarded the Golden Lion Award for Contemporary Art History and Criticism at the Venice Biennale in 2007. He is also the recipient of numerous other grants, including Getty, CASVA, and Lehman Foundation fellowships, and an elected member of the American Academy of Arts and Sciences.

Born in Hamburg in 1957, Diedrich Diederichsen has worked since 2006 as a Professor of Contemporary Art Theory at the Academy of Fine Arts in Vienna. In the 1970s and 1980s, he was a music editor for the German magazine Spex, and he has written art criticism and essays in renowned art magazines from Artforum to Texte zur Kunst, as well as numerous books including On (Surplus) Value in Art (2008) and, most recently, U¨ber Pop-Musik (On Pop Music) (2014).

Hal Foster has been a force in American art criticism since the late 1970s, bringing psychoanalytic and poststructural theory to bear on contemporary art and its historical precedents. In 1983 he edited the anthology The Anti-Aesthetic: Essays on Postmodern Culture, which helped frame postmodernism within the arts. Foster began to write for Artforum in 1978 and was a senior editor at Art in America (1981–1987) before becoming a coeditor of the journal October in 1991, and contributes frequently to Artforum, October, and the London Review of Books. His books include Recodings: Art, Spectacle, Cultural Politics (1985), Compulsive Beauty (1993), The Return of the Real (1996), Design and Crime (2002), The Art-Architecture Complex (2011), The First Pop Age (2012), and Bad New Days: Art, Criticism, Emergency (2015). He is the Townsend Martin, Class of 1917, Professor of Art and Archaeology at Princeton University.

Few artists have shaped the scope of contemporary art and influenced younger generations more than Wolfgang Tillmans. In a career spanning almost four decades, he has consistently redefined the medium of photography through a seamless integration of genres, subjects, techniques, and exhibition strategies. His inventive practice pairs intimacy and playfulness with a commitment to social awareness and a persistent questioning of existing values and hierarchies.