Eva Díaz is a writer and art critic living in Rockaway Beach, New York. Her writing has appeared in magazines and journals such as The Art Bulletin, Artforum, Art Journal, Cabinet, Frieze, Grey Room, Harvard Design Magazine, and October. Her first book, The Experimenters: Chance and Design at Black Mountain College (University of Chicago Press, 2015), examines how an interdisciplinary group of artists proposed new models of art practice around the concept of experimentation, and focuses on three key Black Mountain teachers in the late 1940s and early 1950s: Josef Albers, John Cage, and R. Buckminster Fuller. She recently completed the manuscript to her new book After Spaceship Earth, analyzing the influence of R. Buckminster Fuller in contemporary art, a project also supported by a Warhol Foundation / Creative Capital Art Writers Grant. Recent portions of the book focus on artists’ experiments in challenging a privatized and highly surveilled future in outer space, and how the space “race” and colonization can be reformulated as powerful means to readdress economic, gender, and racial inequality, as well as ecological injustice. Sections of the new project have been published in New Left Review, Aperture, e-flux journal, and Texte zur Kunst. She is currently at work on a book that explores nonvisual and trans-corporeal experiences, such as olfaction. Taking up projects by Anicka Yi, Sean Raspet, and Sissel Tolaas, among others, the book in part investigates the ways contemporary artists counter the denigration of scent with what can be termed a biopolitics of the senses. Díaz received her BA from the University of California, Berkeley, her PhD from Princeton University, and attended the Whitney Museum Independent Study Program (ISP), where she was on the faculty for nearly ten years. She teaches art history at Pratt Institute in Brooklyn.