John C. Welchman is Professor of art history in the Visual Arts department at the University of California, San Diego and Chair Emeritus of the Mike Kelley Foundation for the Arts. His books on art include Modernism Relocated: Towards a Cultural Studies of Visual Modernity (Allen & Unwin, 1995), Invisible Colours: A Visual History of Titles (Yale, 1997), Art After Appropriation: Essays on Art in the 1990s (Routledge, 2001); Guillaume Bijl (JRP|Ringier, 2016); and Past Realization: Essays on Contemporary European Art (Sternberg, 2016). Welchman is co-author of The Dada and Surrealist Word Image (MIT, 1987), Mike Kelley (Phaidon, 1999), and Kwang-Young Chung (Rizzoli, 2014); and editor of Rethinking Borders (Minnesota, 1996), Institutional Critique and After (JRP|Ringier, 2006), The Aesthetics of Risk (JRP|Ringier, 2008) and Black Sphinx: On the Comedic in Modern Art (JRP|Ringier, 2010) as well as the collected writings of Mike Kelley: Foul Perfection: Essays and Criticism (MIT, 2003); Minor Histories (MIT, 2004); Mike Kelley: Interviews, Conversations, and Chit-Chat, 1988-2004 (JRP|Ringier, 2005). He has written for Artforum (where he had a column in the late 1980s and early 90s), Screen, the New York Times, International Herald Tribune, the Economist among other newspapers and journals; and contributed essays to catalogues and associated publications at Documenta (Kassel), the Louvre (Paris), Stedelijk Museum (Amsterdam), Centre Pompidou (Paris), MoMA|PS1 (NY), Tate Modern and Tate Liverpool, Reina Sophia (Madrid), Metropolitan Museum of Art (NY), The New Museum (NY), Albertina, Vienna, Museum of Contemporary Art (LA), LA County Museum of Art, Sydney Biennial, Venice Biennale, Vienna Museum of Contemporary Art, Contemporary Art Gallery (Vancouver), Ludwig Museum (Budapest), Haus der Kunst (Munich), Edinburgh Festival, Vienna Secession, and Museo Nacional de Bellas Artes de La Habana.