Amy Sara Carroll

Amy Sara Carroll’s books include SECESSION; FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for the 2012 Poets Out Loud Prize; and REMEX: Toward an Art History of the NAFTA Era which received honorable mentions for the 2017 MLA Katherine Singer Kovacs Prize, the 2018 Latin American Studies Association Mexico Section Best Book in the Humanities, and the 2019 Association for Latin American Art-Arvey Foundation Book Award. Since 2008, she has been a member of Electronic Disturbance Theater 2.0, coproducing the Transborder Immigrant Tool. She coauthored [({ })] The Desert Survival Series/La serie de sobrevivencia del desierto which was published under a Creative Commons license and widely redistributed. Carroll was a 2005-2006 Mellon Postdoctoral Fellow at Northwestern University, a 2015 Summer Poet-in-Residence at the University of Mississippi, a 2017-2018 Fellow in Cornell University’s Society for the Humanities and a 2018-2019 Fellow in the University of Texas at Austin’s Latino Research Initiative. Winter 2021, she was an artist-in-residence with other members of EDT 2.0 at the University of California, Los Angeles’s Luskin Institute on Inequality and Democracy. Recently her work has appeared in the Boston Review, Michigan Quarterly Review, FENCE, the Rio Grande Review, Panorama: Journal of the Association of Historians of American Art, and Aztlan: A Journal of Chicano Studies, and in the exhibitions, The Matter of Photography (Stanford University, Cantor Art Museum, Palo Alto, CA), Below the Underground: Renegade Art and Action in 1990s Mexico (Armory Center for the Arts, Pasadena, CA), Intergalactix: against isolation/contra el aislamiento (Los Angeles Contemporary Exhibitions [LACE], LA, CA), and Cuánto tiempo lleva todo esto derramándose sin desbordarse (Centro de Cultura Digital, Mexico City, MX). Fall 2023, she and other members of EDT 3.0 staged a performance either side of the Calexico-Mexicali border wall and exhibited work in Planta Libre Espacio Experimental as part of the MexiCali Biennial. Summer 2024, she performed with EDT 3.0 in the Edinburgh Fringe Festival. Previously she taught at the University of Michigan, Ann Arbor, and The New School in New York City. Currently she’s Associate Professor of Literature and Literary Arts at the University of California, San Diego, where she is affiliate faculty in Latin American Studies, Critical Gender Studies, Chicanx and Latinx Studies, Global South Studies, and Film Studies.

Pronouns: she/ella

Languages: English, Spanish

Affiliated Faculty: Latin American Studies, Critical Gender Studies, Chicanx and Latinx Studies, Global South Studies, Film Studies

Books

• ¡NIFTY! [an intimate oral history/una historia oral íntima], bilingual chapbook (translator Doreen A. Ríos), minted as NFTs, and published in the Spanish in conjunction with the catalog Cuánto tiempo lleva todo esto derramándose sin desbordarse, Mexico City: Centro de Cultura Digital, 2021. 11-63.
• REMEX: Toward an Art History of the NAFTA Era. Austin: The University of Texas Press (Mellon Latin American and Caribbean Arts and Culture publishing initiative), 2017. (416 pages)
  • Honorable Mention for the 2019 College Art Association, Association for Latin American Art-Arvey Foundation Book Award
  • Honorable Mention for the 2017 Modern Language Association Katherine Singer Kovacs Prize
  • Shortlisted for the 2018 Association for the Study of the Arts of the Present Book Prize
  • Honorable Mention for the 2018 Latin American Studies Association Mexico Award in the Humanities (selection committee: Paul Fallon, Mary K. Coffey, and Ana Sabau Fernández)
• [({ })] The Desert Survival Series/La serie de sobrevivencia del desierto (bilingual edition, Creative Commons license), Electronic Disturbance Theater 2.0/b.a.n.g. lab, computer code by Brett Stalbaum and Jason Najarro, poetry and statement by Carroll, Spanish translations by Francheska Alers-Rojas, Julieta Aranda, Elizabeth Barrios, Carroll, Iván Chaar-López, Natasha Hakimi Zapata, Orquídea Morales, Omar Pimienta and Mary Renda. Ann Arbor: The Office of Net Assessment (The University of Michigan Digital Environments Cluster Publishing Series, coordinators Tung-Hui Hu and John Cheney-Lippold), 2014. (88 pages)
  • CTHEORY and CTheory Books BLUESHIFT series, edited by Arthur and Marilouise Kroker. University of Victoria, British Columbia, Canada, 2015. Web.
  • Electronic Literature Collection 3, edited by ELC3 Collective Stephanie Boluk, Leonardo Flores, Jacob Garbe, and Anastasia Salter, 2016. Web.
  • CONACULTA E-Literatura/Centro de Cultura Digital Editorial and Revista 404 (Mexico City, Mexico), with interview with Carroll and Ricardo Dominguez by Lorena Gómez Mostajo, Mónica Nepote, and Ximena Atristain, “La herramienta transfronteriza para inmigrantes,” 2016. Web.
  • Truthdig, Arts & Culture section, complete set of poems published serially, 2016-2017. Web.
  • Hemi Press (Hemispheric Institute of Performance and Politics Publications, New York University, New York, NY), multilingual TOME edition (Gestures series) with Nahuatl translations of poetry by Martín Vega Olmedo and Eduardo de la Cruz Cruz, Mixe translations of poetry by Luis Balbuena Gómez, and essays by Ashley Ferro-Murray and Sergio Delgado, 2017. Web.
• FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography (with a foreword by Claudia Rankine). New York: Fordham University Press, 2013 (distributed by Fordham and Oxford University Presses). (104 pages)
  • Winner of Fordham University’s 2012 Poets Out Loud Prize (selected by Claudia Rankine)
• SECESSION (a full-color collection of poems and prints with an introduction by Holly Hughes, two critical essays by Laura Gutiérrez and Evie Shockley, and two interviews with Amy Sara Carroll by Heidi Bean and Carlos Amador and Rachel Price). San Diego: Hyperbole Books (an imprint of San Diego State University Press), 2012. (194 pages)
  • Winner of the 2013 Louis I. Bredvold Prize for Scholarly or Creative Publication, University of Michigan, Department of English Language and Literature
  • Winner of the 2013 Golden Crown Literary Society (GCLS) Poetry Award
• Sustenance: A Play for All Trans [ ] Borders, Electronic Disturbance Theater 2.0/b.a.n.g. lab, edited by Carroll and Ricardo Dominguez. New York: Printed Matter, Inc., July 2010. Reprint: Vandal (“[In]Security” special issue), December 2011, includes an interview with Carroll and Dominguez by Aydé Enríquez-Loya. 48-73. Reprint: Manifesto Now! Instructions for Performance, Philosophy, Politics, edited by Laura Cull & Will Daddario, Bristol, UK/Chicago, USA: Intellect Ltd., 2013, 159-174 (distributed by the University of Chicago Press).

Articles & Book Chapters

• “‘Reading like a Poet’ between the Lines of the Cultural Exemption and the Mexican Exception” in “Beyond Copyright: How does Law Impact Art?” Colloquium, ed. Wendy Katz and Lauren van Haaften-Schick, Panorama: Journal of the Association of Historians of American Art 9, no. 1 (Spring 2023). Web.
• “the-Mex-is: Guillermo del Toro’s Silver Angel versus The Strain of the Political Economy of Vampirism,” Aztlán: A Journal of Chicano Studies (“Global Latinidades” double dossier, edited by Ben Olguín and Cecilia Rivas) 48.1 (Spring 2023). 211-226.
• “Consummate ‘PIAS Forms’: Periodizing Mexico’s 1990s,” catalogue essay for the exhibition Below the Underground: Renegade Art and Action in 1990s Mexico, curator Irene Tsatsos. Armory Center for the Arts, Pasadena, CA (“Pacific Standard Time: LA/LA,” The Getty Foundation), 2020. 22-37.
• “As Darkroom Is to Light Box, Lourdes Grobet’s Hora y media is to Ingrid Hernández’s La maquila golondrina,” The Matter of Photography in the Americas, edited by Natalia Brizuela and Jodi Roberts. Palo Alto: Stanford University Press and Cantor Arts Center, 2018. 128-133.
• “When School is a Factory, Where is Ana Mendieta?” The Volta, “Evening Will Come: A Monthly Journal of Poetics” 65 (“Poetry and | of | in Power” special issue, edited by Evie Shockley), April 2017. Web. Reprint: Best American Experimental Writing 2018, guest-edited by Myung Mi Kim. Middletown, CT: Wesleyan University Press, 2018. 51-55.
• “[The Fiction of a Doorframe] Further Notes on Undocumentation,” Media Fields Journal 12 (“Media and Migration” special issue, edited by Bianka Ballina and Carlos Jiménez), January 2017. 1-10. Web.
• “Lesbianism-Poetry//Poetry-Lesbianism,” The Cambridge Companion to Lesbian Literature, edited by Jodie Medd. Cambridge: Cambridge University Press, 2015. 188-203.
• “El derecho de replica: Performance—Lorena Wolffer—Performatividad,” exhibition essay for Lorena Wolffer / Expuestas: registros públicos (July-October 2015), Museo de Arte Moderno, Mexico City, Mexico, 2015. 23-27.
• “From Papapapá to Sleep Dealer: Alex Rivera’s Undocumentary Poetics,” Social Identities: Journal for the Study of Race, Nation and Culture 19.3-4 (“Political Documentary Cinema in Latin America: Concepts, Histories, Experiences” special issue, edited by Kristi Wilson and Antonio Traverso), May-July 2013: 485-500. Reprint: Wilson, Kristi and Antonio Traverso, eds. Political Documentary Cinema in Latin America. New York and London: Routledge, 2014. 211-226.
• “Global Mexico’s Coproduction: Babel, Pan’s Labyrinth, and Children of Men,” The Journal of Transnational American Studies 4.2 (2012) (“Revolutions and Heterotopias” special issue, edited by Micol Seigel, Lessie Jo Frazier, and David Sartorius). 1-30. Web.
• “Tina Modotti’s ‘Wonderfull’/Lo ‘Wonderfull’ de Tina Modotti,” commissioned post on Open Space in response to the exhibition Photography in Mexico, the SFMOMA blog, San Francisco Museum of Modern Art, San Francisco, CA, June 2012. 1-2. Web.
• “Todos Somos Echolalia: A Response to Becoming Transreal,” The Transreal: Aesthetics and Politics of Crossing Realities, edited by Zach Blas and Wolfgang Schirmacher. New York/Dresden: Atropos Press, 2012. 85-89.
• “Codeswitch: The Transborder Immigrant Tool” and selection of poetry from the project (with translations by Yanoula Athanassakis [Greek], Lili Hsieh and Zona Yi-Ping Tsou [Mandarin Chinese], and Tatiana Sizonenko [Russian]), Somatic Engagement, edited by Petra Kuppers. San Francisco: Chain Links, 2011. 19-35.
• “EDT 1.0, EDT 2.0, EDT 3.0” and selection of poetry from the Transborder Immigrant Tool, Errata# Revista de Artes Visuales 3 (“Cultura Digital y Creación/Digital Culture and Creation” special issue), December 2010: 40-64.
• “Muerte sin fin: Teresa Margolles’s Gendered States of Exception,” The Drama Review (TDR) 54.2 (T206), Summer 2010: 103–125.
• “La lateralización de la historia, Maquilapolis y el efecto de los años 2000 y 2001,” Representación y fronteras: el performance en los límites del género, edited by Hortensia Moreno and Stephany Slaughter. México: UNAM/PUEG/UNIFEM, 2009. 187-201.
• “‘Accidental Allegories’ Meet ‘The Performative Documentary’: Boystown, Señorita Extraviada, and the Border-Brothel→Maquiladora Paradigm,” SIGNS: Journal of Women in Culture and Society 31.2, Winter 2006: 357-396.
• “A Critical Regionalism: The Allegorical Performative in Madre por un día and the Rodríguez/Felipe Wedding,” e-misférica 2.2 (“Sexualities and Politics in the Americas” special issue, edited by Antonio Prieto Stambaugh), November 2005. 1-15. Web.
• “Incumbent upon Recombinant Hope: EDT’s Strike a Site, Strike a Pose,” The Drama Review (TDR) 47.2 (T178), Summer 2003: 145-150.
• “EDEMA y el/la ciudadano/a ‘posmoderno/a,’” video catalogue essay for the work of Ema Villanueva and Eduardo Flores, June 2001.
• “Los juegos representacionales de Luis Orozco,” catalogue essay for Homenaje a Joan Brossa (solo show of work by Luis Orozco), L’Orfeó Catalá de Mèxic, AC, October 2000.
• “Contracciones,” program description for Contracciones, Centro Nacional de las Artes, México, DF, September 2000.
• “Performing Body-Politics: Belle Rogue Collection’s Runway Interventions,” catalogue essay for Belle Rogue Collection, Neutral Ground Gallery, Regina, Canada, May 2000: 1-53.
• “‘Nobody is so Rude/Not to Remember Gertrude’ (On the work of Gertrude Stein),” Reader’s Guide to Lesbian and Gay Studies, edited by Timothy Murphy, Chicago: Fitzroy Dearborn Publishers, 2000. 570-572.

Shorter Creative Work

• “20/20” (linocut poem-print), “Activation Instructions (ix),” “Don’t Block the Box,” “Activation Instructions (x),” “Carry on Carrión//Boxear,” FENCE 41 (Spring 2024).
• “Triste as Fuck,” and “piel/pile,” Rio Grande Review (59) 2024.
• “As in the Earth rOtates On its Own praxis…” (a poem-gloss for Yanira Castro’s “Exorcism: a revenge score”), Imagined Theatres: writings for a theoretical stage 07 (2023). Web.
• “Activation Instructions (vi)/Instrucciones de activación (vi)” and two dice for Carla Herrera-Prats (in Spanish and English, Spanish co-translated with Sergio Delgado Moya), book jacket for Lo que el mundo nos ofrece: Ensayos filosóficos sobre affordances o potencialidades de acción, edited by Alvaro Peláez and Laura Pérez. Mexico: Universidad Autónoma Metropolitana, 2023.
• “31footladder after Andrew Sturm (und Drang),” “Shrinky-dink,” and three poems from the Border X series, Perforations Journal (“Borders” special issue, edited by Tovah Strong), Mills College, May 2022. Web.
• “A Pile of Coats, ‘A Heap of Language’” and “1933/1934,” Kaliedoscoped Magazine (“Unfinished Stories” special issue), March 2021. Web. Range of pages 4.
• “My Lar” and cover art (in collaboration with Donna Senf Carroll), “Activation Instructions (vii),” “Lesbos,” “Activation Instructions (viii),” and “Michigan-Manhattan,” Michigan Quarterly Review (“Persecution” special issue), edited by Reginald Dwayne Betts, Fall 2020. MQR Online interview about work, “Flip It and Reverse It: An Interview with Amy Sara Carroll” by Monica Rico, November 2020.
• “All the Entertainments of Ordinary Life,” Crossed Lines: Literature and Telephony, Dial-A-Poem mobile app (curated by Sarah Jackson and Sam Buchan-Watts) with Dial-a Poem interview, Nottingham Trent University, Nottingham, England, May 2020. Web.
• “Activation Instructions // Untitled 3D poem,” Boston Review Forum 12, “Allies” Literary Anthology, 2019.
• “Rekognition™,” Scaffoldings. Mexico City: El Hijo del Ahuizote, September 2019.
• “As in We Will Not Pass,” Academy of American Poets, Poem-a-Day, poets.org, August 23, 2018. Web.
• Eight Spanish/English poems from the Transborder Immigrant Tool with Arabic, Portuguese, Greek, Mandarin, and Malayalam translations, Aster(ix): A Journal of Literature, Art, Criticism (“Kitchen Table Translation” special issue, print and digital editions, edited by Madhu Kaza), Summer 2017.
• “BRRINNG!” and “re/D/act,” Affect and Audience in the Digital Age: Translational Poetics, curated by Amaranth Borsuk. Los Angeles: Essay Press, Fall 2016. 2-3, 23.
• “Ze” and reprint of untitled poem, Aster(ix): A Journal of Literature, Art, Criticism (“What We Love” special issue), Fall 2016. Reprint: Aster(ix) 10th Anniversary Issue. June 2023.
• “MAY DAY || May 2nd” and “The Epic of American Civilization,” DATABLEED V, September 2016. Web.
• “The Day José Died,” Pastelegram, November 2015. Web.
• “7 Lights after Paul Chan,” “Lumbar Puncture,” “Ganas de Canas,” “LICE,” “Still Life,” and “Escape // Hatch,” POOL: a journal of poetry 14, August 2015. Web.
• Two limited edition broadsides with untitled poems in English and Spanish (designer Jan Murray), distributed by the University of Mississippi, June 2015
• “Think Pink,” “‘I see XXXXXX dead people,’” and “Beginnings,” Lana Turner: A Journal of Poetry and Opinion 7, October 2014
• Nine poems from the Transborder Immigrant Tool’s “Desert Survival Series” and Statement by Carroll (in English and Spanish) and interview with Carroll, Elizabeth Barrios and Mary Renda, Tiresias: Culture, Politics and Critical Theory 6 (“Elements of Matter” special issue), October 2014, 2-26 and 133-151.
• “Alegoría” and “Despierta,” The Capilano Review 3.23 (“Languages” special issue, edited by Sarah Dowling), May 2014
• “Lost Object,” “The Beets,” and “Speed Queen” (set of three image-poems distributed as limited-edition postcards), Displaced Press, May 2011.
• “Built Environmental –isms,” two untitled poems from the Transborder Immigrant Tool (with translations byPetra Kuppers [German] and Yanoula Athanassakis [Greek]), and two earth art poems from the Public Poetry Project featured on Poets for Living Waters (a poetry action), June 2010. Web.
• “Pipe Dream” and “Family Portrait,” HOW2 (“Performance and Poetry” special issue), December 2009. Web.
• “‘Lloro cuando se quema el arroz…’” and “The Beets,” Version, November 2009. Web.
• “What Is the Difference Between Globalization and Neoliberalism?”, “Corpus Christi Corrido,” and “Transition(song of my cells),” vandal (“Borders and Walls” special issue, edited by Angie Cruz), September 2009 Reprint: “What Is the Difference Between Globalization and Neoliberalism?”, Aster(ix): A Journal of Literature, Art, Criticism, Fall 2013. Web. Reprint: Aster(ix): A Journal of Literature, Art, Criticism, special issue “(Un)bound: Five Years of Asterisms,” Winter 2018/2019.
• "Arrested Development,” Jubilat 16, Summer 2009
• “i” and “Process Note,” Rattle (“Tribute to Visual Poetry” special issue), Summer 2008
• “Transparent I” & “Transparent II” in “Anarcha-Anti-Archive” (curated by Petra Kuppers and Jay Steichmann), Liminalities: A Journal of Performance Studies 4.2 (2008). Web.
• “Let Down,” “Ovulation,” “Late Onset Particle Capitalism,” and “Thrombotic” in Not for Mothers Only: Contemporary Poets on Child-Getting and Child-Rearing, edited by Catherine Wagner and Rebecca Wolff, Fence Books, May 2007
• “Imagine” and “Papantla,” Talisman (“Poetry from North Carolina” special issue, edited by Joseph Donahue), Fall 2005
• “To Amuse,” Carolina Quarterly, Fall 2005
• “Simultaneous Translation,” The Displayer (chapbook), Lucipo (Lucifer Poetics Group), Triangle Area, North Carolina, June 2005
• “March,” “San Patricio,” “Breathe,” and poem-prints “D,” “LL,” and “V/W” along with interview (by Heidi Bean), The Iowa Review, June 2004. Web.
• “Tough Girl,” chapbook, Lucipo (Lucifer Poetics Group), Triangle Area, North Carolina, June 2004
• “Una parábola de un paraguas,” Fusión, October 2002
• Poem-print “Interracial,” This Bridge We Call Home: Radical Visions for Transformation, edited by Gloria Anzaldúa and AnaLouise Keating, Routledge, 2002
• “Grief” and poem-print “Mama-Donna,” Mamibaile (chapbook), September 2001
• Web page poem-print “G” for Women in Literature and Letters, 2001
• “Kith and Kin,” “October,” and poem-print “Shhh” (formerly “S”), Big Allis, Fall 2000. Reissue: Jacket2, July 2013. Web.
• Web page poem-print “WILL” for Women in Literature and Letters, 2000
• “Secession” (in English and Spanish translation) and poem-prints “O” and “Te extraño,” Les Voz (honorable mention in “poesía erótica lésbica”), 1999
• Poem-print “Q,” cover art for Crayon, 1999
• “I,” “You,” “We,” “San Patricio,” and “Celos,” Mandorla, Spring 1999
• “Tamarind for Cameron” and poem-print “M,” Chain 5 (“Different Languages”), Summer 1998
• “Risky,” Bombay Gin, 1997
• “July,” “August,” and “September,” Seneca Review, Fall 1996
• “Life,” Borderlands: Texas Poetry Review, Fall/Winter 1995
• “Cascarones” and “Travelers,” Faultline, Spring 1995

Translations

• “The Panic and/or Freak Aesthetic” by Jorge Ayala Blanco, in ReFocus: The Films of Alejandro Jodorowsky, edited by Michael Witte. Edinburgh: Edinburgh University Press, 2023.

Book Reviews

• “¿Qué hay de material en la cultura? Recent monographs on Latin American literature, video, art, and aesthetics by Karen Benezra, Gustavo Furtado, Héctor Hoyos, Erin Graff Zivin, and Freya Schiwy,” Chasqui: Revista de Literatura y cultura latinoamericana e indígena, November 2023.
• “Topping from the Bottom: A Conversation with Kegels for Hegel and Patricia Montoya,” Aster(ix): A Journal of Literature, Art, Criticism. May 2018. 1-6. Web. Reprint: Aster(ix) 10th Anniversary Issue. September 2023.
• Review of Diana Taylor and Roselyn Costantino, eds., Holy Terrors: Latin American Women Perform and Mónica Mayer, Rosa chillante: mujeres y performance in México, Revista de Estudios Hispánicos, Winter 2005: 232-234.

Edited Volumes

• “BorderS (Part II),” special issue coedited with Ricardo Dominguez, Imagined Theatres, forthcoming Spring 2025.
• “BorderS (Part I),” special issue coedited with Ricardo Dominguez, Imagined Theatres, Fall 2024.
• “Diarias 03” (compilation of cross-genre writing by Carroll, Peggy Kyoungwon Lee, Jaye Elizabeth Elijah, Patricia Montoya, Shannon Folmer & Eliot Sandbach, Angie Cruz, Marta Lucía Vargas, Sarah Luna, and Desirée Martín), Diarias Global virtual exhibition by Lorena Wolffer, Museo Universitario Arte Contemporáneo (MUAC) of the Universidad Nacional Autónoma de México (UNAM), Mexico City, MX, 2020. (40 pages)
• Aster(ix): A Journal of Literature, Art, Criticism (“The Poetry Issue”), co-edited and with a co-coordinated Q & A by Carroll, Saretta Morgan, and Marta Lucía Vargas, Winter 2020. (76 pages)
• Collection—Recollection—Collectivity (chapbook of Fall 2019 “Advanced Poetry” student projects in dialogue with The New School Archives and Special Collections), edited and with an introduction by Carroll, Winter 2020. (16 pages)

Collaboratively Authored Plays, Essays, Portfolios, and Editorials

• “trans/bor/der/ing: an un-play for accompaniment,” by Carroll and Ricardo Dominguez, Sanctuary Spaces, edited by Ananya Roy and Veronika Zablotsky, Durham: Duke University Press, forthcoming 2025.
• “Public/Private (an Ante-play for the Cyborgesian Citizen),” Electronic Disturbance Theater 2.0, by Carroll and Ricardo Dominguez with contributing text by micha cárdenas, Informatics of Domination, edited by Zach Blas, Melody Jue, and Jennifer Rhee. Durham: Duke University Press, forthcoming 2025.
• “Teletechnopoetic” (podcast), Carroll, Ricardo Dominguez, and Césaire Carroll-Domínguez, Telepoetics Symposium (organizers Sarah Jackson and Sam Buchan-Watts), The Dana Library and Research Centre at the Science Museum, London, England. May 2020, 26 mins. Web. Range of pages 20.
• “The Other Balcony per Genet (a scene without distance),” by Carroll, Ricardo Dominguez, and Césaire Carroll-Domínguez, Imagined Theatres: Imagined Theatres: writings for a theoretical stage (04 “Emergency”), with gloss by Patricia Ybarra, April 2020. Web.
• “Of Co-Investigations and Aesthetic Sustenance: A Conversation between Colectivo Situaciones and Electronic Disturbance Theater 2.0/b.a.n.g. lab,” by Carroll, Ricardo Dominguez, and Colectivo Situaciones, Collective Situations: Readings in Contemporary Latin American Art, 1995-2010, edited by Grant H. Kester and Bill Kelley Jr., Durham: Duke University Press, 2017. 309-320.
• Operation Faust & Furioso: A Trans [ ] border Play on the Redistribution of the Sensible, Electronic Disturbance Theater 2.0/b.a.n.g. lab with special guest appearances by Flavia Meireles, Alex Olson, Rolando Palacio, and Katia Tirado, edited by Carroll and Ricardo Dominguez, Leonardo Electronic Almanac (LEA) 21.1 (special issue coordinators Mimi Sheller and Hana Iverson), January 2016. 28-42.
• Six nanopoems created with an electron force microscope plus collective statement, *particle group*, BathHouse Journal 11.2 (“Radicalism: Part 2” special issue), May 2014. Web.
• “Media dislocativa, una historia de fantasmas (o como frotar piedras en el nombre de trans-cuerpos por convertir-se)/“Dislocative Media, A Ghost Story (or how to rub two stones together in the name of trans [ ] bodies to be/come),” by Carroll and Ricardo Dominguez, SITAC IX Teoría y práctica de la catastrophe catalogue, edited by Eduardo Abaroa, Mexico City: PAC/SITAC, 2013. 124-141; 346-362.
• “The Transborder Immigrant Tool,” Electronic Disturbance Theater 2.0/b.a.n.g. lab with Grant Wahlquist (interview/essay), 2010 California Biennial (catalogue), curator Sarah C. Bancroft. Newport Beach, California: Orange County Museum of Art and DelMonico Books, Prestel, 2010. 56-59.
• Op-ed, Electronic Disturbance Theater 2.0/b.a.n.g. lab, The San Diego Union-Tribune (respondent: Republican Congressional Representative Duncan Hunter), March 2010.
• Nanosférica, *particle group* portfolio, eds. Amy Sara Carroll and Ricardo Dominguez. “Multimedios,” e-misférica 6.1 (special issue on “Contagion”), Summer 2009. Web.
• “Particles of Interest,” *particle group* with Eduardo Nava (interview/essay), Specflic 2.6 and Particles of Interest (catalogue), curator Eduardo Navas. San Diego: Gallery@Calit2, 2008. 25-38.

Collaborations

• The Transborder Immigrant Tool (Electronic Disturbance Theater 2.0/3.0), 2008-present
  • Sound installation and box installation, Border Blasters/Desintegrador de fronteras: Exposición de Radio y Televisión TJ/SD (curators Diana Benavídez, Bill Perrine and Itza Vilaboy), Bonita Museum (San Diego), July-August 2024 and IMAC (Tijuana) in conjunction with World Design Capital San Diego Tijuana 2024
  • Various poems, Fictions of Interdomain Routing (curators Michael Connor, Iris Long, Ziyang Wu), Long March Space, Beijing, China, April-July 2023
  • Selected poems and images, I’ll Be Your Mirror: Art and the Digital Screen (curator Alison Hearst), The Modern Art Museum of Fort Worth, Fort Worth, TX, February-April 2023
  • Various works, #RetroColectiva Gallery QI exhibition, UCSD, La Jolla, CA, April-June 2022
  • Various works, THE FUTURE PAST VS. COLONIALITY: Decolonial Media Art Beyond 530 Years virtual exhibition (curator Liliana Conlisk Gallegos), SIGGRAPH, Daegu, South Korea, April-May 2022
  • Selected poems and images, Under a Different Sky (curators Jake Treacy and Lucie McIntosh), BLINDSIDE SATELLITE, Melbourne, Australia, May-July 2021 (satellite screens will be set up simultaneously in multiple locations beyond Blindside, including Bunjil Place, Narre Warren; Harmony Square, Dandenong, Liverpool, Sydney and Beenleigh, Queensland
  • Staged reading of excerpt from “Codeswitch: The Transborder Immigrant Tool”, UCLA, April 2021 (Zoom)
  • Selected poems and images, After La Vida Nueva (curators Weiyi Chang, Sofia Jamal, Colleen O’Connor, and Patricio Oreallana), Whitney Museum of American Art ISP, NY, NY, August 2020
  • Selected poems and images, Art in the Age of Anxiety (curator Omar Kholeif), Sharjah Art Foundation, Sharjah, United Arab Emirates, March-May 2020
  • Selected poems and images, The Art Happens Here: Net Art Anthology, rhizome.org and The New Museum, NY, NY, 2018-19
  • “Codeswitch: The Transborder Immigrant Tool” (with Ricardo Dominguez), The Rockefeller Foundation Bellagio Center, Bellagio, Italy, September 2018
  • “Border Artivisms” (with Ricardo Dominguez), ENGLISH 300 “Global Responses to the War on Terror and the Security State and International Human Rights in Literature and Film” (Instructor Alexandra Moore), Binghamton University (SUNY), Binghamton, NY, May 2018
  • “Dislocative Media, Dislocation, and the Transborder Immigrant Tool” (with Ricardo Dominguez), Human Rights Institute, Binghamton University (SUNY), Binghamton, NY, May 2018
  • Writer and co-designer of visual poems, Everything Is Going To Be Fine (curator Thomas Patier), Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-the-Hudson, NY, April-May 2018
  • Writer and co-designer of sound installation, Entre Irse y Quedarse (curated by Atomic Culture), Galería Merida, Merida, MX, December 2017-January 2018
  • Writer and co-designer of visual poems, Tunnel below / Skyjacking above: Deconstructing the border, neue Gesellschaft für bildende Kunst (nGbk), Berlin, Germany, August-October 2017 (with Skype presentation September 2017)
  • Writer of one poem transferred in Spanish/English/Nahuatl to a water barrel and forty poems uploaded onto six cell phones, Making Communities: Art and the Border (curator Tatiana Sizonenko), University Art Gallery, UCSD, La Jolla, CA, March-April 2017
  • Writer of forty poems uploaded onto six cell phones, Future Now/Futura Ahora (curated by Atomic Culture), Loisaida Center, February-March 2017 (Skype panel presentation, February 2017)
  • Writer of forty poems uploaded onto six cell phones, Dispatches (curator Cora Fisher), Southeastern Center for Contemporary Art, Winston-Salem, NC, November 2016-February 2017
  • “Permission/Slip” (poem for collaborative performance and sound files digital redistribution), Recording and [({ })] The Desert Survival Series/La serie de sobrevivencia del desierto book release party (organizer John Cheney-Lippold), American Culture and Digital Studies, University of Michigan, Ann Arbor, April 2016
  • Reader (pre-recorded poem) with Brett Stalbaum, Patricia Montoya, and Omar Pimienta, Presentation of [({ })] The Desert Survival Series/La serie de sobrevivencia del desierto and inclusion of book in exhibition “Recent Works,” University Art Gallery, UCSD, La Jolla, CA, May 2015
  • Writer of forty poems uploaded onto six cell phones, Body Practices (curator Trish Stone), gallery@calit2, UCSD, La Jolla, CA, November 2014-January 2015
  • Writer of forty poems uploaded onto six cell phones, Waterscapes: The Politics of Water (curator Hyewon Lee), Kumho Museum of Art, Seoul, Korea, November-December 2014; Pohang City Museum of Art, Pohang, Korea, January-March 2015
  • Writer of forty poems uploaded onto six cell phones, Covert Operations: Investigating the Known Unknowns (curator Claire C. Carter), Scottsdale Museum of Contemporary Art, Scottsdale, AZ, September 2014-January 2015 and San Jose Museum of Art, San Jose, CA, August 2015-January 2016, presenter at the San Jose Museum of Art, October 2015
  • Writer of forty poems uploaded onto six cell phones, The Wall in Our Heads (curator Paul Farber), Goethe-Institut Washington, Washington, DC, October 2014-January 2015, Haverford College, Cantor Fitzgerald Gallery, Haverford PA, October-December 2015
  • Writer of forty poems uploaded onto six cell phones, By Invitation Only (curator Lucía Sanromán), InstantHERLEV institute (IHi), Copenhagen, Denmark, August-November 2014
  • Writer of forty poems uploaded onto six cell phones, In Motion: Borders and Migrations, Utah Museum of Contemporary Art, Salt Lake City, Utah, May-September 2014
  • Reader in the documentary The Tinaja Trail, director Bryce Newell, The Humanitarian Film Initiative, released April 2014
  • Writer of forty poems uploaded onto six cell phones, global aCtIVISm, ZKM | Museum of Contemporary Art, Center for Art and Media, Karlsruhe, Germany, December 2013-March 2014
  • Keynote speaker with Ricardo Dominguez, Art and Social Justice symposium, Drexel University, October 2013
  • Writer of twenty-five poems uploaded onto four cell phones, The Musée des Tapisseries, L'antiAtlas des frontiers/The AntiAtlas of Borders show (curator Isabelle Arvers), Aix-en-Provence, France, October-November 2013
  • Writer of twenty-five poems uploaded onto four cell phones, Steve Turner Contemporary, Los Angeles, CA, July 2013
  • Presenter with Ricardo Dominguez, Queens Museum of Art, Arte Útil Lab (organizer Tania Bruguera), New York, NY, March 2013 (TBT also included in Arte Útil Lab exhibit, March-June 2013; Van Abbemuseum, Amsterdam, Netherlands, December 2013-March 2014)
  • Writer of twenty-five poems uploaded onto four cell phones, Cultural Hijack (curators Ben Parry and Peter McCaughey), AA School of Architecture Gallery, London, England, April-May 2013
  • Respondent, War on Immigrants Report (radio show), WBAI (New York, New York), April 2013
  • Writer of twenty-five poems uploaded onto four cell phones, Temporary Services: Socialized Media–Designated Drivers, Interactive Records and a Booklet Cloud, Texas State University, San Marcos, TX, March-April 2013
  • Writer of twenty-five poems uploaded onto four cell phones, Cadre Show, Haldon Art Gallery, San Jose State University, San Jose, CA, January-March 2013
  • Writer of twenty-five poems uploaded onto four cell phones, Double Visions: Contemporary Collaborative Artists, Grossmont College Hyde Art Gallery, El Cajon, CA, January-February 2013
  • Writer of thirty-five poems uploaded onto six cell phones, Hemispheric Institute of Performance and Politics Encuentro CITIES | BODIES | ACTION Exhibition, Universidade de São Paulo, São Paulo, Brazil, January 2013
  • Presenter, The Transborder Immigrant Tool, “Network Society: Global and Local” (first year seminar) (instructor Rachel Price), Princeton University, November 2012 (via Skype)
  • Performer with Elle Mehrmand, “Apart from water, we want poetry!” in Occupy Art: Variedades (A Performance Salon on ‘Anarchy’!) (curators Rubén Martínez and Raquel Gutiérrez), Stanford University, Palo Alto, CA, May 2012
  • Writer of twenty-five poems uploaded onto four cell phones, LA Re.Play (An Exhibition of Mobile Media Art in conjunction with the College Art Association Conference, curators Hana Iverson, Mimi Sheller, and Jeremy Hight), Broad Art Center, UCLA, Los Angeles, CA, February 2012 (and presenter on the CAA panel “The City/Space and Creative Measure,” February 23, 2012)
  • Writer of twenty-five poems uploaded onto four cell phones, Immigrant/Emigrant (curator Lara Bullock), Angels Gate Cultural Center, San Pedro, CA, Spring 2012
  • Writer of twenty-five poems uploaded onto four cell phones, DisFluency, Parsons, The New School for Design, NY, NY, November-December 2011
  • Writer/co-designer of poems, “Precession” and “Transition” included in NOISE: Trans-Subversions in Global Media Networks (curator Jian Chen), MIX 24 queer experimental film festival, New York, NY, November 2011
  • Photographer/writer of three images included in Living as Form: Socially Engaged Art from 1991-2011 “Archive of Socially Engaged Practices,” Creative Time, 2011
  • Writer of twenty-five poems uploaded onto four cell phones, Curatorial Interventions symposium (curator Lissette Olivares), New York University, New York, NY, November 2011
  • Presenter (via Skype) with Micha Cárdenas, Ricardo Dominguez, Elle Mehrmand, and Brett Stalbaum, University of Southern California (organizer Mark Marino), Los Angeles, CA, October 2011
  • Writer of thirty-five poems uploaded onto six cell phones, Ecologías Correlativas, Chimera+, Brooklyn, NY,October 2011
  • Performer with Micha Cárdenas, Ricardo Dominguez, and Elle Mehrmand, demo and selections of poetry from TBT, &Now Festival of New Writing 2011: Tomorrowland and Forever! (organizers Anna Joy Springer and Amina Cain) (Skype), University of California, San Diego, La Jolla, CA, October 2011
  • Writer of thirty-five poems uploaded onto six cell phones, Subversive Technologies show (curator Arlan Londoño, with Gabriel Roldos and Federica Matelli), Toronto Free Gallery (in conjunction with Digital Event ’11), Toronto, Canada, September-October 2011
  • Performer with Ricardo Dominguez, Flavia Meireles, Brett Stalbaum, and Brian Whitener, Sustenance: A Play for All Trans [ ] Borders, Oi Futuro (Performance Art and New Media Festival), Rio de Janeiro, Brazil, September 6, 2011 (Skype), with the distribution of a translation of one of the desert survival poems into Portuguese at the performance
  • Writer/performer with Micha Cárdenas, Ricardo Dominguez, Elle Mehrmand and special guest Ilka Kressner, Variedades: Anarchy! featuring A Performance Salon (curators Rubén Martínez and Raquel Gutiérrez), The Echo, Los Angeles, CA, July 2011
  • Writer/co-designer of poetry included in performance for Political Equator 3(Conversations on Co-Existence: Border Neighborhoods as Sites of Production) and writer of text (read in my absence), organizer Teddy Cruz, San Diego/Tijuana, June 2011
  • Writer/co-designer of video essay/fragments, “Codeswitch: A Ghost Story,” 2011 International E-Poetry Festival, SUNY-Buffalo, Buffalo, NY, May 2011
  • Writer/co-designer of video poem, “Transition (song of my cells),” included in Outdoor Video Screenings (curator Trish Stone), Art Produce Gallery, San Diego, CA, May 2011
  • Writer/co-designer of video poems, in TRANS/BORDER Art Exhibition, UCSD (in conjunction with the “Racialization, Neoliberalism and Queering Public Spheres” Symposium), La Jolla, CA, April 2011
  • Writer/co-designer of images and text projected onto wall for MFA + MFA show (curators Darrel Alejandro Holnes and Colin McRae), North Quad Library, University of Michigan, Ann Arbor, MI, April 2011
  • Writer of various poems and texts uploaded onto a flash drive included in Designated Drivers show (curators Temporary Services, Brett Bloom, Salem Collo-Julin, Marc Fischer), The Block Museum of Art, Northwestern University, Evanston, IL, April 2011
  • Presenter with Ricardo Dominguez, “Mobile: Reflexión y experimentación en torno a los medios locativos en el arte contemporáneo en México,” Centro Nacional de las Artes-Centro Multimedia, Mexico City, January 2011
  • Writer of various poems uploaded onto a cell phone included in Collective Show Los Angeles 2011, Los Angeles, CA, January 2011
  • Writer of twenty-two poems uploaded onto five cell phones included in A Modular Framework/Un Marco Modular Show (curator Eduardo Navas), Centro Cultural de España, San Salvador, El Salvador, November 2010
  • Presenter with Ricardo Dominguez, “La geopoética de The Transborder Immigrant Tool,” Semana de Aniversario: Traslaciones, Escuela de Artes, Universidad Autónoma de Baja California, Tijuana, México, October 2010
  • Writer of forty-eight poems uploaded onto nine cell phones chosen for inclusion in the 2010 California Biennial, Orange County Museum of Art (OCMA) (curator Sarah Bancroft), October 2010-March 2011 (opening weekend October 22-24, 2010)
  • Writer of twelve poems uploaded onto two cell phones included in Art and Social Justice show (curator A.A. Bronson), Institute for Art, Religion, and Social Justice, Union Theological Seminary, New York, NY, October-December 2010
  • Presenter with Ricardo Dominguez and Brett Stalbaum, “The Computer Fraud and Abuse Act and Digital Civil Disobedience: What’s ‘In’? What’s a Sin?,” my presentation: “404 Files-Not-Found: Between The Computer Fraud and Abuse Act and ‘The United States of America versus Daniel J. Millis’,” UCLA Department of Art History and Los Angeles County Bar Association, UCLA, Los Angeles, CA, September 2010
  • Photographer/co-designer, billboard/mural/poem, Aguas, Galería de la Raza, San Francisco, CA, September 2010
  • Writer of twelve poems uploaded onto two cell phones on display in El Grito (The Cry for Independence) at the University of Arkansas, Little Rock, Art Museum, in collaboration with the Arkansas/Mexico 2010 Celebration, Little Rock, AK, August-October 2010
  • Presenter with Ricardo Dominguez, “The Transborder Immigrant Tool,” SOMA, Mexico City, July 2010
  • Performer with Micha Cárdenas, Ricardo Dominguez, Elle Mehrmand, Chloe Sanossian, Brett Stalbaum, Felipe Zúñiga, Sustenance: A Play for All Trans [ ] Borders, Galería de la Raza, San Francisco, CA, June 2010
  • Reader/group presenter/writer with Micha Cárdenas, Ricardo Dominguez, Elle Mehrmand, Chloe Sanossian, Brett Stalbaum, “City Decentered: The Transborder Immigrant Tool,” City Centered: A Festival of Locative Media, KQED, San Francisco, CA, June 2010
  • Writer of twenty-two poems uploaded onto five cell phones on display in KQED station, City Centered : A Festival of Locative Media (curator Paula Levine), KQED, San Francisco, CA, June 2010
  • Writer of twenty-two poems uploaded onto four cell phones on display in the galleries, Here Not There show, Museum of Contemporary Art, San Diego (La Jolla) (curator Lucia Sanroman), June 2010 (with a separate performance June 19, 2010)
  • Writer of blues song “The Devil’s Highway Blues (Another Conceptual Poem for the Transborder Immigrant Tool)” (by invitation), performed with original musical composition by Steve Willard, Summer Salon Series, San Diego Museum of Art, San Diego, CA, May 2010
  • Reader of poems for the Transborder Immigrant Tool, National Estuarine Research Reserve System, “Speaker Series,” Imperial Beach, CA, May 2010
  • Presenter with Ricardo Dominguez, “Entre la Difunta Correa y el difunto correo: The Transborder Immigrant Tool,” English Department, University of California, Santa Barbara, April 2010
  • Presenter with Ricardo Dominguez, “Off the Radar, On the Fence: The Transborder Immigrant Tool’s Geoaesthetic,” “Radars and Fences” Symposium, NYU, March 2010
  • Presenter with Ricardo Dominguez, Transborder Immigrant Tool, V95.0550.001 “New Borderlands in Latin America and Spain” (instructor Jill Lane), NYU, Spanish Department, March 2010
  • Respondent with Ricardo Dominguez to Bob Dane of FAIR (topic: U.S./Mexico border, immigration, the Transborder Immigrant Tool), MSNBC live with Contessa Brewer, December 2009
  • Participant/Speaker with Ricardo Dominguez, Basekamp (Philadelphia, PA) Skype Chat, December 2009
  • Writer with micha cárdenas, Ricardo Dominguez, and Brett Stalbaum, (presented by Cárdenas), “The Transborder Immigrant Tool: Violence, Solidarity, and Hope in Post-NAFTA Circuits of Bodies Electr(on)ic,” Workshop at Mobile HCI09, University of Bonn, Bonn, Germany, September 2009.
  • Writer/co-designer of poems, “Al-Khwārizmī,” “Precession,” “Transition,” and “Dubliners,” and writer of theproject statement, “A Global Poetic/Positioning System: The Transborder Immigrant Tool,” Space is the Place, Dublin National College of Art and Design, Inter-Society for the Electronic Arts (ISEA), Dublin, Ireland, August-September 2009, also featured on “Moving Poems: the best video poetry on the web”
  • Presenter with Ricardo Dominguez, “Transcendental –isms and the Digital Humanities: The Transborder Immigrant Tool,” Digital Humanities Mellon Seminar, UCLA, March 2009
• *particle group*, 2007-present
  • Three nanopoems as minted NFTs, Feral File, September 2022
  • Various works, #RetroColectiva Gallery QI exhibition, UCSD, La Jolla, CA, April-June 2022
  • Nanopoems (projected onto façade of Herbert F. Johnson Museum) and “Illuminated Nanoscripts” (projected onto interior walls of Jill Stuart Gallery, Human Ecology Building), *particle group*, Intimate Cosmologies: The Aesthetics of Scale in an Age of Nanotechnology, Cornell Council for the Arts Biennial 2014 (curator Stephanie Owens), Cornell University, Ithaca, NY, September-December 2014
  • “Illuminated Nanoscripts,” a *particle group* video installation for NanoMacroMega exhibition (curator Lucía Sanromán). Structural Materials and Engineering Research Center, UCSD, La Jolla, CA, September 2012
  • “The Particularities of *particle group*’s Poetry: Of Nanotopias/Nanocausts and Electron Force Microscope Lithography” (lecture with Ricardo Dominguez), SOMA, Mexico City, July 2012
  • Presenter with Ricardo Dominguez, “Poetry and Other Lo-Fi Technologies,” “Science of the Oppressed” panel, Allied Media Conference, Detroit, MI, July 2012
  • Co-writer, “Trans¬_Patent Tales: a play for particles,” Speculative (exhibition catalogue curators/editors Zach Blas and Christopher O’Leary), LACE, Los Angeles, CA, June-August 2011
  • Writer/co-designer of poems uploaded onto a nano-iPod included in Collective Show Los Angeles 2011, Los Angeles, California, January 2011
  • Writer/co-designer, “NANO BANANA,” “NÃO→NANO-OBJETO,” “Post-Pangea Incontinence,” and “TIN Y PLURI- BUS [+ UNAM],” included in show CONTROverse: Contemporary Visions of the US-Mexico Border (curator Perry Vasquez), Southwestern College Art Gallery, Chula Vista, CA, October-November 2010
  • Writer/co-designer/Performer, “Nano caminantes,” e-poetry International Festival, Barcelona, Spain, May 2009
  • Writer/co-designer, “NANO BANANA,” “NÃO→NANO-OBJETO,” and “TIN Y PLURI- BUS [+ UNAM]” for “Particles of Interest” installation, UCDARNET “Scalable Relations” Exhibit, Cal Nanosystems Institute, UCLA, January 2009
  • Writer/co-designer/Participant, *particle group* featured on/in “<<arte. (nuevo) {interactivo}+[2009]>>/<<Net.Arte.Latino Style__1994-2009>>,” Spring 2009
  • Writer/co-designer, “The Absence of Field,” an interactive performance-poem commissioned by the University of California, San Diego, for the new Structural and Material Engineering Building’s groundbreaking ceremony, October 2008
  • Writer/co-designer, “NANO BANANA” and “TIN Y PLURI- BUS [+ UNAM]” for “Particles of Interest” installation, gallery@calit2, University of California, San Diego, August-October 2008 and participant in “Panel Discussion/Exchange,” October 2008
  • Writer/co-designer, “NANO BANANA,” “TIN Y PLURI- BUS [+ UNAM],” and “NÃO→NANO-OBJETO,” presented as a single computer access installation, FILE 2008 (New Media Festival), São Paulo, Brazil, August 2008
  • Writer/co-designer, “NANO BANANA,” “TIN Y PLURI- BUS [+ UNAM],” and “NÃO→NANO-OBJETO,” a streaming presentation on three walls, Oi Futuro 2008 (Performance Art and New Media Festival), Rio de Janeiro, Brazil, August 2008
  • Reader/participant, San Diego Museum of Art (Contemporary Art Gallery, part of Inside the Wave), March-July 2008 (wrote/co-designed two iPod nano poems, “Nano Banana” and “TIN Y PLURI-BUS [+ UNAM],” participated in gallery performance)
  • Reader/participant with Ricardo Dominguez, Diane Ludin, and Nina Waisman, “Particles of Interest: Tales of the Matter Market” (part of Nomadic New York Performances, curator André Lepecki), Haus Der Kulturen der Welt, Berlin, Germany, October 2007 (participated in gallery and Berlin site-specific performances)
• El automóvil gris/The Grey Automobile (theatrical production by Claudio Valdés-Kuri), 2003-2008
  • Melbourne International Arts Festival, Melbourne, Australia, October 2008
  • Dallas Video Festival, Dallas, Texas, August 2007
  • High Line Festival, New York, New York, May 2007
  • Lincoln Center for the Performing Arts, New York, NY, May 2007
  • University of Texas, Performing Arts Center, Austin, TX, January 2007
  • Mondavi Center for the Performing Arts, University of California, Davis, January 2007
  • Robert Flaherty Film Seminar, Scripps College, Claremont, CA, June 2005
  • Edinburgh Fringe Festival, Demarco Roxy Art House, Edinburgh, England, August 2005
  • Santa Barbara Latino CineMedia Festival, University of California, Santa Barbara, CA, April 2004
  • Ford Amphitheatre, Los Angeles Arts Commission, Los Angeles, CA, June 2003
  • Wexner Center, Columbus, OH, October 2003
  • Dartmouth College, Hanover, NH, October 2003
  • Portland Institute of Contemporary Arts, Portland, OR, September 2003
  • Goodman Theatre Latino Theatre Festival, Chicago, IL, July 2003
  • The Anglo Mexico Foundation, Mexico City, May 2003
  • Ebert Film Festival, University of Illinois at Urbana-Champaign, April 2003
  • John F. Kennedy Center for the Performing Arts, Washington, D.C., March 2003
  • North Carolina Museum of Art, Raleigh, NC, February 2003
  • North Carolina State University, Raleigh, NC, February 2003
  • Duke University, Durham, NC, February 2003

• Ph.D. in Literature, Duke University, 2004
• M.A. in Literature, Duke University, 2000
• M.F.A. in Creative Writing (Poetry), Cornell University, 1995
• M.A. in Anthropology, University of Chicago, 1993
• A.B. Anthropology and Creative Writing (Poetry), Princeton University, 1990