In his wide-ranging art, activist, and writing practice, Gregory Sholette (American, b. 1956; lives in New York) has developed a self-described “viable, democratic, counter-narrative that, bit-by-bit, gains descriptive power within the larger public discourse.” Sholette is a founding member of Political Art Documentation/Distribution, which issued publications on politically engaged art in the 1980s; of REPOhistory, which repossessed suppressed histories in New York in the 1990s; and more recently, of Gulf Labor, a group of artists advocating for migrant workers constructing museums in Abu Dhabi. In dozens of essays, three edited volumes, and his own Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2011), Sholette has documented four decades of activist art that, for its ephemerality, politics, and market resistance, might otherwise remain invisible. He has contributed to such journals as Eflux, Critical Inquiry, Texte zur Kunst, October, CAA Art Journal and Manifesta Journal among other publications. His recent art installations include Imaginary Archive at the Institute of Contemporary Art, University of Pennsylvania and the White Box at Zeppelin University, Germany. His collaborative performance Precarious Workers Pageant premiered in Venice on August 7, 2015. Sholette is a graduate of the Whitney Independent Study Program in Critical Theory and is an Associate of the Art, Design and the Public Domain program at the Graduate School of Design Harvard University, served as a Curriculum Committee member of Home WorkSpace Beirut education program, and is an Associate Professor in the Queens College Art Department, City University of New York where he helped establish the new MFA Concentration SPQ (Social Practice Queens).