Solomon “Zully” Adler, ESSAYIST, is currently a doctoral candidate at the Ruskin School of Art, University of Oxford, UK, and writing his dissertation about the art of Martin Wong. Adler also runs the Goaty Tapes music label and House Rules publishing house, and he co-founded Vernon Gardens, an experimental exhibition space near Los Angeles. He has co-organized exhibitions of work by Jess and Paul Klee for the San Francisco Museum of Modern Art, where he also authored extended captions about collection objects and curated exhibitions of work by Brook Hsu and Melvino Garretti for Vernon Gardens.

Charlie Ahearn, VIDEO PRODUCER, is an artist, photographer and filmmaker. His films include Wild Style, released in 1983 and considered the first film to document New York City hip hop and graffiti culture. Ahearn also created several documentary features about artists, including Jamel Shabazz – Street Photographer (2011) and Richard Hunt Sculptor (2010), an autobiographical road movie, Fear of Fiction (1999), as well as many shorts, including profiles of Leon Golub, Tom Otterness, and Kiki Smith. He also authored Wild Style (2007, powerHouse Books), and co-authored Yes Yes Ya’all (2002, Da Capa Press) about early hip-hop.

Anneliis Beadnell, CO-EDITOR/PHOTOGRAPHY DIRECTOR, is a curator and the Head Researcher and Archivist to the Estates of Carolee Schneemann, David Wojnarowicz, and Martin Wong at P·P·O·W. She received her MFA in Contemporary Art Theory from the University of Manchester in 2009, before joining P·P·O·W as Director in 2011. She has assisted in organizing exhibitions and corresponding catalogues, including Carolee Schneemann: Kinetic Painting, Museum der Moderne, Salzburg, 2015; Martin Wong: Human Instamatic, Bronx Museum of Art, 2015; David Wojnarowicz: History Keeps Me Awake at Night, Whitney Museum of American Art, New York, 2018; and she co-curated Martin Wong: Voices, P·P·O·W, New York, 2016, among others.

Paulina Choh, RESEARCH ASSISTANT, is a doctoral candidate in the German department at Stanford who is interested in the intersection of art, literature, and theory. Her research is engaged with questions regarding visibility and immateriality, centered around the modern period but drawing inspiration from the pre-modern as well. She has a PhD minor in art history, works with photographers such as Michael Jang, and practices photography herself. Before coming to Stanford, she was at the Walther Collection in New York City and studied at Middlebury College, the University of Mainz, and Lincoln College at Oxford.

Doryun Chong, ESSAYIST, is the inaugural Chief Curator and Deputy Director of Hong Kong’s M+ Museum, responsible for exhibitions, symposia, acquisitions, and interpretation programs. Previously, he was Associate Curator of Painting and Sculpture at MoMA, New York for seven years and earlier held a curatorial position at the Walker Art Center in Minneapolis. He is the co-curator of the 2015 Venice Biennial Hong Kong Pavilion and curator of the 2001 Venice Biennial Korea Pavilion. He is co-editor of From Postwar to Postmodern, Art in Japan, 1945–1989: MoMA Primary Documents (Duke University Press, 2013), and serves on the Martin Wong Foundation board.

Delaney Chieyen Holton, RESEARCH ASSISTANT, is a doctoral candidate in the Department of Art and Art History at Stanford with research interests in Asian/American history and visual culture, decolonial feminisms, and transformative justice. Their work appears in the Journal of Contemporary Chinese Art and X-TRA, and they have previously worked at the Museum of Chinese in America and the Blanton Museum of Art.

Mark Dean Johnson, CO-EDITOR/ESSAYIST, is Professor Emeritus of Art at San Francisco State University, advisor to the Stanford Asian American Art Initiative, and serves on the Martin Wong Foundation board. He is the co-editor of The Saburo Hasegawa Reader (UC Press, 2019), co-editor/co-author of Asian American Art: A History, 18501970 (Stanford University Press, 2008); and co-curator/co-editor/co-author of Carlos Villa: Worlds in Collision (UC Press, 2022), Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan (UC Press, 2019), Chang Dai-chien: From Heart to Hand (Asian Art Museum, 2019), and When I Remember I See Red: California Indian Art and Activism (UC Press, 2019).

D. Vanessa Kam, CO-EDITOR/ESSAYIST, is currently Electronic Resources Librarian at Emily Carr University of Art and Design in Vancouver, British Columbia, Canada. Previously, she was Head of the Bowes Art and Architecture Library at Stanford University, where she participated in the Asian American Art Initiative and helped acquire archival collections of artists and collectors including Bernice Bing, James Leong, Michael Donald Brown, and others. Her essays The Tenacious Book, Part 1 and Part 2, about the resilience of the printed art book in a digital world, received the Art Libraries Society of North America’s Worldwide Art Books Publications Award (2015). She performs as a singer in the band, The Neighbor’s Cat, as well as other ensembles.

Marci Kwon, CO-EDITOR/INTERVIEWER, is Co-Director of the Asian American Art Initiative and Assistant Professor of Art and Art History at Stanford University; she also serves on the board of the Martin Wong Foundation. She is the author of Enchantments: Joseph Cornell and American Modernism (Princeton University Press, 2021). She has published journal articles about artists including John Kane, Isamu Noguchi, and Martin Wong, and written about topics including Asian American art history, surrealism and folk art, race and value, and Japanese internment crafts. She is currently developing a book about art, artifice, and authenticity in post-Earthquake San Francisco Chinatown.

Margo Machida, PhD, ESSAYIST/INTERVIEWER, is Professor Emerita of Art History and Asian American Studies at the University of Connecticut. Her book Unsettled Visions: Contemporary Asian American Artists and the Social Imaginary (Duke University Press, 2009) received the Cultural Studies Book Award from the Association for Asian American Studies. She co-authored Fresh Talk/Daring Gazes: Conversations on Asian American Art (UC Press, 2005) and co-curated/co-authored Asia/America: Identities in Contemporary Asian American Art (The New Press, 1994). She has contributed to journals and to many edited volumes and exhibition catalogues. Machida received the 2021 College Art Association Excellence in Diversity Award, and is a co-founder of GODZILLA: Asian American Art Network (1990–2001).

Louise Siddons, PhD, ESSAYIST, is department head of Art and Media Technologies at the Winchester School of Art at the University of Southampton, UK; previously she was Professor in Art History at Oklahoma State University and founding co-director of the University Museum of Art. She is the author of Centering Modernism: J. Jay McVicker and Postwar American Art (University of Oklahoma Press, 2018) and ‘Good pictures are a strong weapon’: Laura Gilpin, Queerness, and Navajo Sovereignty (forthcoming from University of Minnesota Press). She has contributed essays to multiple journals and curated widely, and she serves on the Martin Wong Foundation board.

Jennie Waldow, RESEARCH ASSISTANT, received her PhD in art history from Stanford University, where she completed a dissertation about the American artist Allen Ruppersberg in 2022. She holds a BA from Scripps College and an MA with distinction from the Courtauld Institute of Art, and she has previously worked at the Museum of Modern Art and the Los Angeles Nomadic Division. At Stanford, she served as a Cantor Curatorial Fellow in 2021 and co-organized the Working Group in Literary and Visual Culture from 2018 to 2022. Beginning in October 2022, she will be the Luce Curatorial Fellow in Collections at the Hammer Museum.

Gary Ware, CO-EDITOR/INTERVIEWEE, is the President of the Martin Wong Foundation. An intimate, lifelong friend of the artist since meeting in 1964 at Humboldt State College, Ware has been central to multiple projects involving the artist’s work and legacy, including helping establish the Martin Wong archival collection at the Fales Library at NYU and advising in the development of several exhibitions. He also serves as the co-trustee for the estate of the artist’s parents, Florence and Benjamin Fie, and co-executor of the foundation.