Rosario Güiraldes is a Curator of Visual Arts at the Walker Art Center in Minneapolis, MN. Originally from Buenos Aires, she has more than a decade of experience working as a curator at institutions across the U.S., Europe, and Latin America, focusing in particular on contemporary art of the global south. She most recently held the position of Associate Curator at The Drawing Center in New York City, where she worked between 2017 and 2023. Among her recent projects are monographic exhibitions of the work of Xiyadie (2023), Fernanda Laguna (2022), Ebecho Muslimova (2021), and Guo Fengyi (2020), the expansive drawing survey Drawing in the Continuous Present (2022), and 100 Drawings from Now (2020, co-curated with Claire Gilman and Laura Hoptman) and The Pencil Is a Key: Drawings by Incarcerated Artists (2019, co-curated with the curatorial staff at The Drawing Center). Güiraldes holds a master’s degree from the Center for Curatorial Studies at Bard College and a bachelor’s degree from the University of Buenos Aires. She frequently lectures in universities and art institutions, and is currently a Visiting Critic in the Department of Painting and Printmaking at Yale School of Art

Ilka Voermann studied art history, classical archaeology, and modern and contemporary history in Münster and Mainz. From 2011 to 2012, she worked as a research assistant and associate researcher at the Kunstmuseum Stuttgart, where she was responsible for the exhibition Willi Baumeister International. Between 2014 and 2017, she served as a curatorial fellow at the Harvard Art Museums in Cambridge, actively involved in the planning of the exhibition Inventur–Art in Germany, 1943–55. As a curator at the Schirn Kunsthalle Frankfurt from 2017 to 2022, she realized exhibitions such as Art for No One. 1933–1945 and Chagall. World in Turmoil. Since August 2022, Dr. Ilka Voermann has been head of the prints and drawings collection at the Berlinische Galerie.

Charlotte Klonk studied art history at the Universities of Hamburg and Cambridge. After completing her dissertation, she was a Junior Research Fellow at Christ Church College, Oxford University, and a lecturer at the University of Warwick. Since 2011, she has been professor of art history at Humboldt Universität zu Berlin.

Jenny Graser studied art history and aesthetics, media studies, and modern history at HBK Braunschweig and TU Braunschweig, including a study abroad semester at Roma Trè, Rome (2015). Under the supervision of Prof. Dr. Gregor Stemmrich, she earned her Ph.D. at Freie Universität Berlin with a thesis on “Das plastische Ereignis. Das Zusammenspiel von Objekt- und Ereignishaftigkeit in der bewegten Skulptur am Beispiel von Jean Tinguelys Maschinentheater”/ “The Plastic Event. The Interplay of Objecthood and Eventfulness in Moving Sculpture exemplified by Jean Tinguelys 'Theater of Machines'” (completed in 2015, published in 2018 with Logos Verlag, Berlin). She worked as a curatorial assistant (2015–2017) and as an assistant curator (2017–2019) at the Graphische Sammlung of the Städel Museum in Frankfurt/Main where she curated the exhibitions Into the Third Dimension: Spatial Concepts on Paper from the Bauhaus to the Present (2017) and Great Realism & Great Abstraction: Drawings from Max Beckmann to Gerhard Richter (2019/20). Since January 2020, Jenny Graser has been curator of contemporary art at the Kupferstichkabinett of the Staatliche Museen zu Berlin. There, she curated the exhibitions m a k i n g things. Tomas Schmit: Drawing, Action, Language, 1970–2006 (2021), Ruth Wolf-Rehfeldt. “Wie eine Spinne im Netz” (Ruth Wolf-Rehfeldt: “Like a spider in a web” 2022;  Hannah Höch Prize 2022), and Farkhondeh Shahroudi. “Beckmann war nicht hier” (Farkhondeh Shahroudi: “Beckmann was not here,” 2022; Hannah Höch Förderpreis 2022), as well as the exhibition WORLD FRAMED. Contemporary Drawings from the Schering Stiftung Collection at the Kupferstichkabinett (July until October 2023).