Cristina Álvarez López, based in Vilassar de Mar, is a film critic and teacher at the EQZE Film School (Spain). She was co-founder of the Spanish online film journal Transit: Cine y otros desvíos, and has written for Sight and Sound, MUBI Notebook, Shangri-la, LOLA, Screening the Past and Screen Education, and contributed to books on Chantal Akerman, Bong Joon-ho, Philippe Garrel and Paul Schrader. Her solo audio-visual essays have appeared in The Third Rail, on the ICA (London) website and Indicator DVD/Blu-ray releases.

Robyn Adler practices art, philosophy and psychoanalysis. At the Victorian College of the Arts, Centre for Ideas, she is currently conducting PhD research on the contemporary imaginary and flight from judgement in art criticism.

The Telepathy Project (Sean Peoples and Veronica Kent) are engaged in a critical practice based on the possibilities of alternative forms of communication. Telepathy and dreams together serve as an extended metaphor and working method through which they explore alternative ways of being, communicating and collaborating.

Jennifer Spinks is Hansen Senior Lecturer in History at the University of Melbourne. She works on northern Europe in the 16th and 17th centuries, and has taught, published and also curated exhibitions on religious conflict, printed propaganda and supernatural beliefs. She is currently writing a study of wonder books.

Chris Arneaud-Clarke is a critic. He graduated from the University of Tasmania with a Bachelor of Arts, and has taught art and cultural theory at various art schools and universities in Australia. His author photo was taken by Lou Conboy, at an event held at Contemporary Art Tasmania in 2017.

Soo-Min Shim is an arts writer based in Sydney. She has written for several Australian and international publications including Art & The Public Sphere, The Artling, Art Almanac, Runway Conversations, un Extended and Running Dog.

Anthony White is an art historian specialising in the history of modern and contemporary art. He is the author of Lucio Fontana: Between Utopia and Kitsch (MIT Press, 2011) and, with Grace McQuilten, of Art as Enterprise: Social and Economic Engagement in Contemporary Art (IB Tauris, 2016). He has written many articles for peer-reviewed journals including Grey Room, October and The Australian and New Zealand Journal of Art. From 2000 to 2002 he curated several exhibitions of American art, including Jackson Pollock’s Blue Poles, at the National Gallery of Australia, Canberra.