Amy Sara Carroll

Amy Sara Carroll’s books include SECESSION; FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for the 2012 Poets Out Loud Prize; and REMEX: Toward an Art History of the NAFTA Era which received honorable mentions for the 2017 MLA Katherine Singer Kovacs Prize, the 2018 Latin American Studies Association Mexico Section Best Book in the Humanities, and the 2019 Association for Latin American Art-Arvey Foundation Book Award. Since 2008, she has been a member of Electronic Disturbance Theater 2.0, coproducing the Transborder Immigrant Tool. She coauthored [({   })] The Desert Survival Series/La serie de sobrevivencia del desierto which was published under a Creative Commons license and widely redistributed. Carroll was a 2017-2018 Fellow in Cornell University’s Society for the Humanities and a 2018-2019 Fellow in the University of Texas at Austin’s Latino Research Initiative. Winter 2021, she was an artist-in-residence at UCLA’s Luskin Institute on Inequality and Democracy. Recently her poetry has appeared in the Boston Review, Michigan Quarterly Review, and Kaliedoscoped. Previously she taught at The New School in New York City, currently she’s an Associate Professor of Literature and Writing at the University of California, San Diego.

Ana Teresa Fernández

Ana Teresa Fernández's work explores the politics of intersectionality through time-based actions and social gestures, translated into masterful oil and gouache paintings, installations and videos. Operating formally at the intersection of land art, performance and history painting, the artist mines 21st-century feminism, post-colonial landscapes, and the psychological barriers to empathy. Born in Tampico and based in San Francisco, she earned an MFA from the San Francisco Art Institute; her work has been collected by the Denver Art Museum, Nevada Museum of Art, and the Kadist Art Foundation, among other institutions. In January 2022, her video and complete suite of photographs in the project Borrando la Frontera (Erasing the Border) (2011/2021) was acquired by the Blanton Museum of Art, the University of Texas, Austin for their permanent collection.


Fernández's installation On the Horizon - originally conceived on San Francisco's Ocean Beach - is on view in Lands End, a major project organized and presented by the FOR:SITE Foundation at San Francisco's historic Cliff House (November 7, 2021 - March 27, 2022).  Fernández’s installation—comprising 16 cylindrical pillars, each measuring six-feet tall and filled with water from the Pacific Ocean—translates projections of sea level rise into an experience both visceral and immediate. On the Horizon was originally conceived as a temporary installation and performance piece at nearby Ocean Beach, created with the help of volunteers and passersby.


The collaborative nature of the work highlights the social dimensions and time-based nature of Fernández’s practice. The San Francisco–based artist describes On the Horizon as a collective endeavor, meant to inspire and evoke change. “How do you arise beauty in this situation that is incredibly frightening,” Fernández asks, “and how do you make people empathize with the unknown, so they can meet this threat and start moving into a direction where they can do something about it?”

Fernández will be the subject of a debut solo exhibition at the gallery in Summer 2022, and her work will be featured in multiple projects and exhibitions below. She has been represented by Catharine Clark Gallery since 2021.

Ana Teresa Fernández can be found at her website and Instagram.

Catharine Clark Gallery can be found at their website and Instagram.

Diagonal Press

Est. 2013 Tauba Auerbach

Publications in open editions.
Nothing signed or numbered.


-To make art in the form of publications.

-To publish reference materials that support exhibitions, experiments and other people.

-To devise a business structure in which the publications are affordable and their value defined by what one might get out of owning them, rather than from reselling them.

-To exploit the physical possibilities of accessible, consumer-level printing and binding processes such as comb binding, coil binding, photocopying and rubber stamping, and to use these technologies in inventive ways.

-To execute production in-house as much as possible.

-To operate with autonomy and integrity.

-To avoid confusing integrity with rigidity.

-To participate meaningfully in the present and necessary psychic shift. 

The diagonal line is the Z axis in a 2D drawing— the dimension that comes off the plane.

Diagonal Press can be found at their website and Instagram.

Doug Bootes

Word sovereignty tends to elevate sound over meaning in the prose and poetry of Doug Bootes, who instructs Creative Writing students at the Institute of American Indian Arts when not mentally or physically wandering the open spaces of New Mexico. His somewhat absurdist musings also appear in Poetry Northwest and many other respectable publications.


JR owns the largest art gallery in the world. Thanks to the technique of photographic collage, he exhibits freely on walls all over the world, thus attracting the attention of those who do not usually visit museums.

Author of the 28 Millimeters project which he started in the Clichy-Montfermeil area in 2004, he continued in the Middle East with Face 2 Face (2007), in Brazil or in Kenya for Women Are Heroes (2008-2011), whose documentary was presented at the Cannes Film Festival in 2010 (Semaine de la Critique).

JR creates “infiltrating art”. During collage actions, communities participate in the artistic process. In these actions, no scene separates the actors from the spectators. JR's anonymity and the absence of explanation accompanying his immense portraits allow him to leave a free space for an encounter between a subject/actor and a passer-by/performer, which constitutes the essence of his work.

JR can be found at his studio website.

Kassandra Contreras

Kassandra Contreras, 20 years old

Hometown: Calexico, Ca

School: UCSD

Majors: Literature & Writing, Anthropology (conc. Archaeology)

Instagram: kasssiii.c

Aspiring writer, artist, and archaeologist.

Lover of cats, dogs, and tacos de pastor.

Protector of the bees.

Valeria Castro Abril

Valeria Castro Abril is a transborder Chicana studying literature and writing at UCSD. She writes mostly about where she's been, and she's been in the San Diego-Tijuana border region her whole life. Her work is an effort to document and understand existence in her body, especially as an exploration into what it means to cross borders. She enjoys creating communally, and runs a creative writing club on campus called Muir Outspoken.


She can be found as valeriacastroabril on Instagram.


In alphabetical order