Writer and art critic, he has published numerous books on early twentieth-century movements, including the Dictionary of the avant-garde in Spain. He was director of the IVAM in Valencia and the Reina Sofia Museum in Madrid. He is now consultant for the  European contemporary  painting collection of the Bancaja foundation.

Is assistant curator of the national Gallery in London since 2002 and has specialized in European painting from the XVII and XVIIIth century. In his article he examines the influence Baroque polychrome sculpture has had on contemporary artists and the atraction it has caused in recent exhibitions. 

Barbara Celis is a journalist who has been living in New York for over a decade. She now works as a foreighn correspondent for the newspaper El País. She received a scholarship from the Getty Foundation where she was awarded the USC Annenberg/Getty Arts journalism Fellowship 2009. In these pages she visits the home and collection of Estrellita Brodsky in New York.

Art History professor at Trinity College in Dublin, he has shown a keen interest in several aspects of Spanish seventeenth century painting, especially the Still Life genree, on which he has curated a number of exhibitions. At the last one, in the Gulbenkian foundation in Lisbon, he presented the painting by Sánchez Cotán, which he examines in these pages.

Author of several projects and architecture works, as well as a usual collaborator to prestigious magazines and publications such as EL Croquis, he also has a doctorate in architecture from the ETSA in Madrid and is professor of architectural composition at the ETSA in Valladolid. Knowledgeable about the work of SANAA, he analyzes the Rolex centre in Lausana.

Doctor of Philosophy and head of the department of Aesthetics and Theory at the university Auntónoma in Madrid. He was until recently a few months ago General Director of Fine Arts for the Spanish Ministry of Culture. He has been director of the Cervantes Institute in Paris since 2004.

Writer and curator settled in London, among his recent editorial works there is a book of interviews to key professionals and artists in the art world. He now visits the New York studio of Ghada Amer reviewing her career and work method.

Since 2009 is the head of collections for the Leopold museum in Vienna. He specialized his studies in Austrian art from the years 1900 to 1960, a subject he has written several books on. In this issue he reviews Gustav Klimt's production, in tune with the exhibition Vienna 1900, organized by the Beyeler foundation.