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coco.fusco [at] gmail.com | D.O.B.: 6/18/60
2007 Ph.D., Art & Visual Culture, Middlesex University
1985 M.A., Modern Thought and Literature, Stanford University
1982 B.A., Literature and Society/ Semiotics magna cum laude,
2015 Dangerous Moves: Performance and Politics in Cuba (Tate Publishing)
2008 A Field Guide for Female Interrogators, (Seven Stories Press)
2003 Only Skin Deep: Changing Visions of the American Self, Editor with
Brian Wallis, (Harry Abrams Publishers, Inc.)
2001 The Bodies that Were Not Ours and Other Writings, (Routledge/INIVA)
1999 Corpus Delecti: Performance Art of the Americas, Editor, (Routledge)
1995 English is Broken Here: Notes on Cultural Fusion in the Americas
(The New Press)
2016 Andrew Banks Endowed Chair, College of the Arts, University of Florida
2014 - 2015 MLK Visiting Scholar, Massachusetts Institute of Technology
2014 Distinguished Chair in the Visual Arts, Fundação Armando Alvares Penteado, Sao Paulo, Brazil (Fulbright Appointment)
2008 - 2013 Associate Professor, Fine Arts, Parsons The New School for Design
2006 - 2008 Visiting Associate Professor, Spanish Dept. and The Center for the
Study of Ethnicity and Race, Columbia University
2001 - 2006 Associate Professor, Visual Arts Division, School of the Arts,
1998 - 2001 Associate Professor, Painting, Drawing and Sculpture Department,
Tyler School of Art, Temple University
1995 - 1998 Assistant Professor, Painting, Drawing and Sculpture Department,
Tyler School of Art, Temple University
2014 New York Foundation for the Arts Fellowship – Non-Fiction
2014 Cintas Knight Fellowship Award in Visual Arts
2013 Absolut Art Writing Award
2009 Shortlist, Index on Censorship Freedom of Expression Awards
2003 Alpert Award in the Arts, Film/Video category
Honorable Mention, Transmediale Festival, Berlin, for Dolores from 10 to 10
2000 Tyler School of Art Merit Award for Outstanding Research
1995 Critics' Choice Award from the American Educational Studies Association for
English is Broken Here: Notes on Cultural Fusion in the Americas.
ATHE Research Award for Outstanding Journal Article from the Association
of Theatre in Higher Education. For the essay, The Other History of
Intercultural Performance, published in The Drama Review, Spring, 1994.
FELLOWSHIPS AND GRANTS
2013 Guggenheim Fellowship
2013 Fulbright Fellowship, Distinguished Chair in Art (Brazil)
2012 US Artists Fellowship, Berman Bloch Fellow
2011 Grant for Intermedia Artist in Residence, Daniel and Estrellita Brody Family Foundation
2011 School-Based Funds, Parsons The New School for Design (for Artist in Residence Program)
2011 Faculty Development Fund, The New School
2009 Faculty Development Fund, The New School
2006 Creative Time Commission, Who Cares? initiative
2004-5 InSite Biennial, Commission for Internet based artwork
2002 Arts International Commissioning Grant for performance
2000-2001 Temple University Junior Research Leave
1999 Temple University Summer Research Fellowship
1998 Multi-Arts Production Fund, Rockefeller Foundation
1998 Franklin Furnace Fund for Performance Art
1995 Los Angeles Department of Cultural Affairs, Artist's Fellowship
1994-95 Mellon Fellowship, Critical Studies, California Institute for the Arts,
1994/1997/2003 Arts International Travel Grant
1991 New York State Council on the Arts, Media Artist Fellowship
1991 National Endowment for the Arts, Inter-arts Artist Fellowship
1991/1997 New York Foundation for the Arts, Non-Fiction Fellowship
1989 New York State Council on the Arts, Critical Writing on Media
2014 Summer Faculty, Provincetown Fine Arts Work Center
2013 Workshop Leader, Centro Hemisférico, Chiapas, Mexico
2013 Master Artist, Atlantic Center for the Arts
2013 Visiting Artist, SOMA, Mexico City
2013 Visiting Professor, Yale School of Art
2011 Juror, MFA in Live Art, Universidad Nacional, Bogota, Colombia
2010 Artist in Residence, Center for the Study of Race, Ethnicity and Culture,
University of Chicago
2008 Visiting Artist/Scholar, Bar Ilan University, Tel Aviv, Israel
2007 University Hood Fellowship, U. of Auckland, New Zealand
2007 Visiting Artist, Colorado College
2007 Artist in Residence, MIT, Cambridge
2007 Visiting Artist, Santa Fe Art Institute
2006 Adjunct Visiting Professor, NYU, Dept. of Art & Public Policy
2006 Visiting Professor, Black Mountain (Western Carolina U.)
2005-2006 Visiting Critic, University of Pennsylvania, Art Dept.
2005 Distinguished Visiting Professor in the Humanities, Grinnell College
2005-2006 Visiting Critic, Art Dept. University of Pennsylvania
2004 Visiting Critic, Sculpture Department, Yale School of Art
2004 Honorary Professor, Hist. & Criticism, Glasgow School of Art
2002 Visiting Artist, NES Theater, Amsterdam, Holland
2002 Visiting Artist, DASARTS, Amsterdam, Holland
2000 Visiting Artist, Arts Council of Andalusia, Spain
2000 Visiting Artist, X-Teresa Arte Alternativo, Mexico City
1999 Visiting Artist, Santa Fe Art Institute, New Mexico
1999 Visiting Artist, La Quam, Barcelona, Spain
1997 Visiting Artist, Otago Polytechnic, Dunedin, New Zealand
1996 Visiting Artist, Colorado University, Boulder
1994 Visiting Professor, Art and Art History Department, Colgate University
1993 Artist in Residence, Art Department, University of Illinois-Chicago.
1992 Artist in Residence, California Institute for the Arts, Valencia, California
1992 Visiting Critic, Maryland Art Place, Baltimore, Maryland.
PROFESSIONAL OFFICES AND COMMITTEES
Franklin Furnace, Board of Directors, 2006 -
College Art Association, Board of Directors, 2004 – 2007
College Art Association, Chair of Diversity Committee, 2005-2007
College Art Association, Nominating Committee, 2006
Cultural Politics Journal, Editorial Advisory Board, 2004 -
PEN American Center, Member, 2003 -
NKA: Journal of Contemporary African Art , Consulting Editor, 1998-
London Live Art Development Agency, International Advisory Board Member, 1999 –
Performance Research Journal, Editorial Board, 1998 -
Board of Directors, Yaddo Artists Residency, 1999 – 2002
Whitney Independent Study Program, Critical Studies Tutor, 2013
Whitney Independent Study Program, Critical Studies Tutor, 2007
Whitney Independent Study Program, Critical Studies Tutor, 2002
Whitney Independent Study Program, Critical Studies Tutor, 2000
VIDEOS AND PERFORMANCES:
LA BOTELLA AL MAR DE MARÍA ELENA (Video)
A video about the case of Cuban poet María Elena Cruz Varela, winner of the 1989 National Poetry Prize. In 1991, she spearheaded an effort by ten Cuban intellectuals to issue a public declaration calling for political reforms. The Declaration of the Cuban Intellectuals alluded to the critical situation that Cuba faced with the dissolution of the Soviet Union, the fall of Communism in Eastern Europe and the dramatic drop in imports and trade. Cruz Varela and several other dissidents were sieged by mobs and arrested for their efforts. In the video, Fusco contrasts the poet's recollections of the events with those a Communist party militant who was involved in the mob attacks.
TED ETHOLOGY: PRIMATE VISIONS OF THE HUMAN MIND (Video)
A “made-for- TV” version of Dr. Zira’s lecture about predation in humans. Premiere at the House of World Cultures in Berlin in April, 2015.
AND THEN THE SEA WILL TALK TO YOU (Performance/Media Installation)
This work invites audience into the physical and emotional experience of journeying from Cuba by sea.
Participants relinquish their worldly possessions (handbags, money, phones, watches, etc.) before entering
a darkened theater. Traditional seating is replaced by the inner tubes that serve as sea crafts for Cuban
rafters. The video combines images of the Caribbean Sea and skies with poetic and testimonial commentary
on the sea. Premiered at BAM Fisher’s Theater in October 2012.
LA PLAZA VACIA (The Empty Plaza) (Video and Photographs)
A video essay about the Plaza of the Revolution in Havana. Premiere at Alexander Gray Associates in
February, 2012. Featured as a Special Project at Untitled Art Fair, Miami Beach, 2012.
2008 - 2010
BURIED PIG WITH MOROS (Multi-media Installation)
A solo exhibition exploring the life of a myth about how to quell Islamic insurgents that emerged from the first American war against Muslims – the Moro Rebellion of the early 20th century. The exhibition centerpiece is a disembodied performance (presented as a power point display with audio) dramatizing an actual transcript of a lecture that was given at a military university in the US in 2005. Premiered at The Project (New York). Also shown in "Self as Disappearance" exhibition at Centre d'Art Contemporain-Synagogue de Delme (France) in 2010.
OPERATION ATROPOS (Video)
A video documentary about Fusco’s undertaking training with retired US Army interrogators. Premiered in Fusco’s solo exhibition at MC Projects, Los Angeles in March, 2006. Subsequent screenings at Palais de Tokyo (Paris), PS 122 (New York), The Royal Ontario Museum (Toronto), Performance Studies International 2006 conference (London), Centro Cultural de la Recoleta, (Buenos Aires), Transmediale (Berlin), and several educational institutions.
Selected for the 2008 Whitney Biennial.
A ROOM OF ONE’S OWN (Performance)
A monologue performance about the role of female Interrogators in the War on Terror. Premiere at The Kitchen as part of Performa 05, New York. Also presented at London’s Victoria and Albert Museum, Oslo’s Kunstnerneshus, New York’s PS 122, FIU’s Frost Museum, Yale U., the Philadelphia Fringe Festival and Auckland’s Maidment Theater in 2006-2009. Selected for the 2008 Whitney Biennial.
BARE LIFE STUDY #1 (Performance)
A street performance involving 50 participants. An
exploration of contemporary military scenarios as intercultural encounters. Premiere at VideoBrasil’s 15th Festival of Electronic Art and Performance, Sao Paolo.
TURISTA FRONTERIZO (Net.Art)
Collaboration with Ricardo Dominguez. An interactive on-line game about social and geographic mobility at the US-Mexico border. Commissioned by InSite 05.
A/K/A MRS. GEORGE GILBERT (Video)
A single channel video, 31 minutes. Combining fictional and documentary materials, this piece is a reflection on the use of electronic surveillance to repress intellectual endeavor and political dissent. An FBI agent’s confesses his involvement in the pursuit of Angela Davis. Premiere at Fusco’s solo exhibition at The Project Gallery, New York. Selected for the 2004 Shanghai Biennial, the Margaret Mead Film and Video Festival, Transmediale 2005, and the Women in the Director’s Chair Festival as well as exhibitions at the Museum of Modern Art, The Bronx Museum, Jack Shainman Gallery, The Brooklyn Museum and the Yerba Buena Center for the Arts.
2001 - 2003
THE INCREDIBLE DISAPPEARING WOMAN (Performance)
A multimedia performance with video projections about women, sex and death in the US-Mexico border region. Premiere at Berlin’s House of World Cultures in June, 2003. Also presented at London’s, ICA, The Time Based Arts Festival at the Portland Institute for Contemporary Art, and the International Performance Festival in Pancevo, Serbia.
2001 - 2002
DOLORES FROM 10 TO 10 (Performance/Video Installation)
In collaboration with Ricardo Dominguez. A 12-hour net. performance about surveillance and the disciplining of female bodies in the global economic order. Presented by Kiasma, Helsinki’s Museum of Contemporary Art on November 22nd, 2001. The video installation based on this performance premiered at the Dundee Contemporary Arts Center in May, 2002 and has been included in the “What? A tale in Free Images” at the Memlingmuseum in Brugge, Belgium; “Artificial Emotion” at Itau Cultural Center in Sao Paolo, Brazil; “Proof: The Act of Seeing with One’s Own Eyes” at the Australian Center for the Moving Image; “La Costilla Maldita” exhibition at the CAAM (Center for Contemporary Art, Canary Islands); the “Day Labor” exhibition at New York’s PS 1; and “Killing Time” at Exit Art in New York. The video installation also received an Honorable Mention from the Transmediale Festival in Berlin in 2003.
ELS SEGADORS (THE REAPERS) (Video)
A video about the integration of immigrant populations into European national cultures. Commissioned by Rotterdam 2001 Cultural Capital of Europe for the “Unpacking Europe” Exhibition. Presented at Museum Boijmans Van Beuningen in Rotterdam, Artists’ Space in New York, ARCO 2002’s Project Rooms and La Casa Encendida in Madrid, and at the Museum of Contemporary Art in Barcelona. Selected for ICP 2003’s Triennial.
EL EVENTO SUSPENDIDO (Performance)
A site-specific performance about the symbolic presence and absence of exiles in Cuba. Presented at El Espacio Aglutinador, in Havana, November 13, 2000.
1999 - 2000
A durational performance inspired by the writing of Catholic women mystics of the 16th and 17th centuries. Premiered at the Third International Performance Art Festival of Odense, Denmark in September, 1999. Toured to Washington State University Museum, November 1999; Nexus Contemporary Art Center, Atlanta, January, 2000; The Project Gallery, New York, June, 2000; Open Space, Internationale Frauen Universitat, Hannover, Germany, August, 2000; and The Hull Time Based Arts Festival, Hull, England, October, 2000.
1996 - 1999
STUFF (WITH NAO BUSTAMANTE) (Performance)
A performance about Latin American women and global tourism, commissioned by London's Institute for Contemporary Art, Portland Center for Contemporary Art and Highways. Premiered in November 1996 at the National Review of Live Art in Glasgow and toured to ICA, London, Nov. '96; Highways, Los Angeles, Dec. '96; PICA, Portland, Jan. '97; Brady Street Theatre, San Francisco, April, '97; Intercult, Stockholm, April, '97; Artspace, Auckland, July, '97; Otago Polytechnic, Dunedin, New Zealand, Aug. '97; Gallery of New South Wales, Sydney, Aug. '97; Waves Festival, Vordingborg, Denmark, Sept. '97; Arizona State University, Phoenix, Sept. '97; University of Michigan, Oct. '97; The MAC, Dallas, Dec. '97; Western Front, Vancouver, January, '98; Notre Dame University, Indiana, February, '98; Duke University Institute of the Arts, March '98; The Painted Bride, Philadelphia, March '98; Harn Museum of Art, Gainsville, April, '98; Cleveland Performance Art Festival, May '98; PlanB Evolving Arts, Santa Fe, June '98; Urban Institute for Contemporary Art, Grand Rapids, June '98; MACLA, San Jose, August. '98; Henry Art Gallery, Seattle, September '98; Cal State U., Chico, October, '98; Museum of Contemporary Art, Helsinki, Finland, Nov. '98; Dixon Place, New York, January, '99; Rhode Island School of Design, January, '99.
RIGHTS OF PASSAGE (Performance)
A site-specific performance about race and state control of internal and external migration. Created for and performed at the Johannesburg Biennale, South Africa, 1997.
EL ULTIMO DESEO/THE LAST WISH (Performance)
A site-specific performance about death and repatriation of exiled Cubans. Presented at the Galeria Tejadillo 214, Havana, Cuba, May 1997.
BETTER YET WHEN DEAD (Performance)
A performance installation about necrophilia and Latin American women artists. Premiered at YYZ Artists Outlet in Toronto, 1997 and performed at the Arts Bienal of Medellin, Colombia, 1997.
POCHONOVELA (DIRECTOR/PRODUCER) (Video)
A 30-minute parody of a Latin telenovela (soap opera) featuring the comedians of Chicano Secret Service. Premiere: October 1995 Honorable Mention, Cinefestival Latino. Broadcast on KCET in 1996.
MEXARCANE INTERNATIONAL (Performance)
A site-specific performance-installation designed for malls and public plazas. Created with Guillermo Gómez-Peña. Premiere at The National Review of Live Art in Glasgow and presented at the Dufferin Mall in Toronto under the auspices of YYZ Artists Outlet and Mercer Union, 1994 and at The London International Theatre Festival, 1995.
THE COUPLE IN THE CAGE (Video)
A 30-minute video documentary about the performances that Fusco and Gómez-Peña carried out in 1992, in which they presented themselves as inhabitants of a Caribbean island that had never been "discovered" by the West. Directed and produced by Fusco in collaboration with Paula Heredia. Selected for 1993 New York Film Festival Video Visions Program. Best Performance Documentary Award, Atlanta Film and Video Festival, 1994. Aired on KCET and WGBH in 1994.
THE YEAR OF THE WHITE BEAR (Exhibition)
An interdisciplinary arts project that premiered in September 1992 at the Walker Art Center in Minneapolis. Created in collaboration with Guillermo Gómez Peña. Consists of a multi-media installation, experimental radio soundtrack and several performances. The project is a creative investigation/ interpretation of the history of representations of the so-called "discovery" of America. Toured to the The Mexican Fine Arts Center Museum, Chicago, 1993; and The Otis Gallery, Los Angeles, 1993. Radio Pirata Broadcast on NPR and Pacifica radio throughout the US in 1992.
TWO UNDISCOVERED AMERINDIANS VISIT THE WEST (Performance)
For this performance, a component of The Year of the White Bear project, Gómez-Peña and Fusco presented themselves as “undiscovered Amerindians” from an island in the Gulf of Mexico. Toured to University of California - Irvine, 1992; Edge Arts Festival, London and Madrid, 1992; Walker Art Center, Minneapolis 1992; The Smithsonian Institution, 1992; The Sydney Biennale, 1992; Field Museum of Natural History, Chicago, 1993; The Whitney Biennial, 1993; Fundacion Banco Patricios, Buenos Aires, 1994
LA CHAVELA REALTY COMPANY (Performance)
A site-specific performance held at the Brooklyn Academy of Music in conjunction with Guillermo Gómez-Peña's 1991: A Performance Chronicle, in which Fusco as Queen Isabella sold patrons deeds to the New World. Costume designed by Pepón Osorio.
An interdisciplinary arts project commissioned by the 1990 Festival 2000 in San Francisco. Composed of installation, multi-media, experimental radio program and performances; produced in collaboration with Guillermo Gómez-Peña and René Yánez. The project explored the cultural, linguistic, political and demographic presence of Latin America in the United States and vice versa. Performed at The Mexican Museum, Sept - Nov., 1990.
HAVANA POSTMODERN: THE NEW CUBAN ART (Video)
A video documentary for public television made with support from the Bela Balasz Studio in Budapest, Hungary, in collaboration with Robert Knafo and Andras Mesz. Aired through KCET Latino Consortium and for WNET's Hispanic Season in 1989.
ONLY SKIN DEEP: CHANGING VISIONS OF THE AMERICAN SELF
A comprehensive exhibition about race in American photography. Opened the International Center of Photography in the winter of 2003 and traveled to the Seattle Art Museum and the San Diego Museum of Art.
MEXICO IN BLACK AND WHITE: THE CINEMATOGRAPHY OF GABRIEL FIGUEROA
An homage to the celebrated Mexican cinematographer for the Brooklyn Museum, June 1998.
A season of performance by Latino/a artists in North and South America, London's Institute for Contemporary Art.
BLACK AMERICAN SHORT FILMS AND VIDEOS
A five-part program organized for the 1993 Oberhausen International Festival of Short Film in Germany. Fusco also presented related programs in Cologne, Dortmund and Munster.
THE HYBRID STATE FILM SERIES
Sponsored by Exit Art. Held at Anthology Film Archives in November, 1991. The two-week program looks at filmic representations of cultural experiences resulting from migration from the Third World to the First.
ROBERT FLAHERTY SEMINAR, Programmer (with Steve Gallagher)
Special program on Arab cinema from North Africa.
BLACK IN A WHITE WORLD
Sponsored by the Gallery Association of New York State. A touring program of short films by African American independent filmmakers.
1989 INTERNAL EXILE: FILMS AND VIDEOS FROM CHILE
A touring exhibition of works by emerging directors produced in the last years of the Pinochet regime. Premiered in May 1990 at the Museum of Modern Art (films) and Exit Art (videos). Program traveled to The Pacific Film Archives, The Los Angeles Festival, The La Jolla Museum of Art, The Neighborhood Film and Video Project (Philadelphia), and other locations. Organized with Third World Newsreel.
A series of documentary films exploring issues of multicultural literacy. Program toured New York State in 1989. Curated while on staff as program officer for the New York Council for the Humanities.
YOUNG, BRITISH AND BLACK: THE WORKS OF SANKOFA AND BLACK AUDIO FILM COLLECTIVE
Film series that introduced the independent media produced by the pioneers of Black avant-garde cinema to American audiences. The program toured the US. Organized with Third World Newsreel.
REVIEWING HISTORIES: SELECTIONS FROM THE NEW LATIN AMERICAN CINEMA
A retrospective series for Hallwalls Art Center in 1987.
“A Room of One’s Own: Women and Power in the New America,” The Drama Review, 51, 4 (T196), Winter, 2007.
“The Incredible Disappearing Woman,” Macalaster International, issue on International Feminisms: Divergent Perspectives, Volume 10, Spring, 2001, pp. 3-44.
“Stuff,” The Drama Review, Vol. 41, No. 4, Winter, 1997, pp. 63-82.
SELECTED ARTICLES AND INTERVIEWS (in addition to those reprinted in my essay collections listed above):
“One Step Forward, Two Steps Back: Thoughts about the Donnelle Woolford Debate,&rdquo The Brooklyn Rail, May 6, 2014.
“The Art School Game,&rdquo Modern Painters, December 2013.
“Defiant Abjection,&rdquo in Touched, edited by Paul Domela, (Liverpool Biennial Catalogue, 2011), 64-80.
“Art on the Hyphen Goes to the Homeland: Jorge Cortiñas Takes Cuban-American Theater to Havana,&rdquo The Drama Review 54, no. 3 (Fall 2010), 13-16. (PEER REVIEWED)
“Still in the Cage: Two Undiscovered Amerindians Twenty Years Later,&rdquo Modern Painters, February 2012.
“Regarding History: Harun Farocki,&rdquo Frieze Magazine 127 (Nov-Dec. 2009), http://www.frieze.com/issue/article/regarding_history/
“On Line Simulation/Real Life Politics: A Discussion with Ricardo Dominguez on Staging Virtual Theater,” The Drama Review, (T178), vol. 47, no. 2, pp. 151-162.
“Wide Area Disturbance” (a published discussion with Ricardo Dominguez),
(The New Press), Mute Magazine, March 10, 2002.
“Transformational Acts: An Interview with Michael Elmgreen and Ingar Dragset,” Taking Place: The Works of Michael Elmgreen and Ingar Dragset, Kunsthalle Zurich and Danish Contemporary Art Foundation (Hatje Cantz Verlag, 2002).
“All Too Real: The Tale of Black Sale: Coco Fusco interviews Keith Townsend Obadike,” Thing Reviews, bbs.thing.net, September, 2001.
“Modernity Deferred: The work of Luis Simon Molina Pantin,” (catalogue essay), Confort Exhibition, Museo Alejandro Otero, Caracas, Venezuela, 2000.
“At Your Service: Latina Performance in Global Culture,” Reverberation: Tactics of Resistance, Forms of Agency in Trans/cultural Practices, ed. Jean Fisher, (Maastricht: Jan Van Eyck Akademie, 2000).
“Una Inmodesta proposición, (An Immodest Proposal),” Zehar Magazine (Spain), Summer, 1999.
“Elevator Repair Service,” (interview), BOMB Magazine, Summer, 1999.
En la encrucijada Norte-Sur: Videos de Juan Downey,” With Energy Beyond These Walls, (Valencia: IVAM, 1998).
“We Wear the Mask,” Talking Visions: Multicultural Feminism in a Transnational Age, ed. Ella Shohat, (Cambridge/New York, MIT Press?New Museum of Contemporary Art, 1998).
"The Magnificat", in Joyful Noise: The New Testamant Revisted, ed. Rick Moody and Darcy Steinke, (New York: Little, Brown, 1997).
Carrie Mae Weems, (review), NKA: Journal of Contemporary African Art, Spring, 1996.
"Performance and the Power of the Popular" in Let's Get It On: The Politics of Black
Performance (London/Seattle: The ICA and Bay Press, 1995).
"Cuban Art, Foreign Interests," catalogue essay for Cuba: La Isla Posible, an exhibition of the Centro de la Cultura Catalana, Barcelona, Spain, 1995.
"A Letter to South African Artists," (catalogue essay) 1995 Africus: Johannesburg Biennale (Johannesburg: Transitional Metropolitan Council, 1995).
"Reflections on the Temple", (catalogue essay for performance installation by Guillermo Gómez-Peña), The Detroit Institute of Art, 1994.
"Magdalena Campos-Pons at INTAR", review, Art in America, February, 1994.
"Pepon Osorio: En la Barberia No Se Llora", (catalogue essay), Real Art Ways, Hartford Connecticut,1994.
"Family Matters: Race, Ethnicity and the American Family", (catalogue essay) Atlanta College of Art, 1994.
"Cuba's Artworld Comes Undone," The Los Angeles Times, Friday, December 24, 1993.
"Pan-American Post Nationalism: Another World Order", in Black Popular Culture, a project by Michele Wallace, edited by Gina Dent, (Seattle: Bay Press, 1992).
"The Hybrid State", film exhibition catalogue essay, published by Exit Art, New York, 1991.
"Art and National Identity", Art in America, Sept. 1991.
"Art and Cuba Now", The Nation, June 24, 1991.
"The Latino Boom in American Film," El Boletin, Journal of the Center for Puerto Rican Studies, 1990.
"Managing the Other" in Lusitania, Vol. 1, No. 3, Fall, 1990, and Futur Antérieur, Nos. 12-13, 1992, L'Harmattan, France.
"Internal Exile: New Films and Videos from Chile," (catalogue essay). Third World Newsreel, 1990.
"Ethnicity, Politics and Poectics: Latinos and Media Art" in Illuminating Video: An Essential Guide to Video Art, edited by Doug Hall and Sally Jo Fifer, (San Francisco: Aperture and the Bay Area Video Coalition, 1990).
"Black in a White World: Short Films by African-American Independents", (catalogue essay), The Gallery Association of New York State, 1990.
"About Locating Ourselves and Our Representations", Framework, Third Scenario: Theory and the Politics of Location, no. 36, 1989, (England).
"Cuba Libre?," The Village Voice, January 10, 1989.
"Fantasies of Oppositionality", Screen: The Last Special Issue on Race?, Vol. 29, No. 4, Autumn, 1988, (England) Reprinted in Art, Activism, and Oppositionality: Essays from Afterimage, ed. Grant H. Kester, (Durham: Duke University, 1998).
"Drawing New Lines", The Nation, Vol. 247, No. 11, Oct. 24, 1988.
"Signs of Transition: '80's Art from Cuba," (catalogue essay), Museum of Contemporary Hispanic Art and The Center for Cuban Studies, 1988.
“Reviewing Histories: Selections from The New Latin American Cinema,” (exhibition catalogue), Hallwalls Contemporary Art Center, 1987.
"Cuba: Cultural Policy, Cultural Politics" Impulse Magazine, Summer, 1987.