Dorota Folga-Januszewska is an art historian, art critic, curator, museologist and educator. As a professor at the Academy of Fine Arts in Warsaw, she heads the Theory Department at the Faculty of Graphic Arts. She is also a Deputy Director at the King Jan III Palace Museum in Wilanow, Warsaw. Her research—which covers topics like the intellectual condition of contemporary printmaking, theories of vision and neuroaesthetics—has been published in over 300 books, journals and catalogs. She has curated over 50 exhibitions and served as a juror in numerous contemporary print competitions. Folga-Januszewska is an Honorary Member of the International Print Triennial Society in Krakow and President of ICOM Poland.

Darko Glavan (1951–2009) was a renowned art historian and curator. He graduated from the Departments of Art History and Comparative Literature of the Faculty of Humanities and Social Sciences in Zagreb. He briefly taught at the Department of Museology before he became a curator at the Mimara Museum in Zagreb. Glavan curated a dozen international shows and over 100 national art exhibitions, such as From Futurism to Fontana (2002) and Dzamonja, Drawings 2005/2006 (2007). His publishing record includes written art criticisms and texts for monographs on contemporary Croatian artists, such as Andrija Maurovic: Familiar and Unfamiliar (2007) and Antun Motika (2002). Glavan was also one of Croatia’s most influential rock music critics.   

Katarzyna Haber is an art critic, academic lecturer and curator at Gallery Apteka Sztuki in Warsaw. She graduated with a degree in art history from the University of Warsaw (1999) and also received the ICOMOS-IFLA scholarship at the University of York, U.K. She specializes in modern Polish art, the history of garden design, interior design and modern architecture. She is especially interested in Masonic and hermetic symbolism. Haber has written numerous curatorial texts for art exhibitions. She has published an array of articles on art, interior design and the history of gardens in magazines such as Gardens, High Heels and University News.

Barbara Kalwajtys is a director of the Baruch Foundation, a private non-profit organization that aims to carry on with spreading knowledge of Central and Eastern Europe visual arts in the legacy of art dealers Anne and Jacques Baruch. Kalwajtys began working with Anne Baruch in 1988 as an assistant in the Jacques Baruch Gallery, later known as the Anne & Jacques Baruch Collection, and continued after 1998 as a loyal friend. She now directs the foundation in Chicago with Merle and Barry Gross. 

Jiri Bernard Krticka is an art historian and curator. He studied theory of cybernetics at Charles University in Prague. He received a Master’s Degree in art history from the Catholic Theology Faculty at Charles University and is currently pursuing his PhD at this institute. Krticka specializes in the Informel art movement, printmaking and philosophy of art. His book Fenomen drsnosti/The roughness phenomenon (2016) delves into the history, technology and artists of Czech structural printmaking. He has contributed to a number of art publications, including Umeni [Art], Atelier, art+antiques, Revue Art and Grapheion.

Barbora Kundracikova is an art historian and curator. She received Master’s Degrees in history, art history and aesthetics from the Faculty of Arts at Masaryk University in Brno, Czech Republic. In her PhD dissertation (also for Masaryk University), she examines the preconditions that affect the aesthetic evaluation of photography. Her areas of interest include technical representations of photography and printmaking, methodology of art history and analytic approaches to aesthetics. Kundracikova participates in the Central European Art Database (CEAD), a platform that presents regional artists from the second half of the 20th century. She currently works as a curator at the Olomouc Museum of Art, Czech Republic.

Katerina Kyselica is a visual artist, designer, curator and lecturer. She received a BFA from VCU School of the Arts in Virginia and a Master’s Degree from Charles University in Prague. Her prints and works on paper, represented in private collections, have been exhibited in solo and group shows in New York, Paris and the Czech Republic. She organized and curated the Celebrating Print Exhibition (2013–2015), a survey of contemporary prints from Central and Eastern Europe. Kyselica’s articles on art, printmaking and design have appeared in Czechdesign.cz, Design Magazin, MF DNES, Celebrating Print and the Journal of the Print World. 

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Alena Laufrova is a visual artist, poet, curator and writer. She received a Master’s Degree in printmaking and illustration at the Academy of Arts, Architecture and Design in Prague (1976). Laufrova’s works are in permanent collections of the Memorial of National Literature and National Gallery in Prague, the State Hermitage Museum in St. Petersburg, the National Museum of Women in the Arts in Washington, D.C. and others. She has curated several exhibitions in the Czech Republic and abroad, such as the traveling exhibition Spiritual Dimension in Czech Printmaking (Prague, New York, Milan). She is a board member of the Hollar Association of Czech Graphic Artists, and a regular contributor to Grapheion magazine. ​

Julia N. Meszaros is an art historian, curator and art critic. She received a Bachelor’s Degree in art history at the Faculty of Humanities of ELTE University in Budapest, Hungary, where she also completed her PhD. She worked at the City Art Museum and the Romer Floris Art and History Museum in Gyor. As a jury member and curator, she shaped numerous international printmaking events and exhibitions including Masters of Graphic Arts–International Graphics and Drawing Biennial. She has published work about contemporary Hungarian fine art, international printmaking and Baroque art in Gyor. Meszaros received awards such as the Order of Merit of the Hungarian Republic (1995 and 2009), the Miklos Banffy Prize (2001) and the Lajos Nemeth Prize (2004). 

Rada Nita is a printmaker and currently a PhD student at the University of Art and Design in Cluj-Napoca, Romania. She received a Master’s Degree (2013) in printmaking from the same university. She was awarded scholarships at the the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland (2010, 2012–2013, 2014–2015), where she participated in printmaking workshops. Her prints have been presented at several international print group exhibitions in Romania, Poland, Lithuania, Bulgaria, Portugal and Italy. Topics of Nita’s research and personal interest include the intaglio technique, particularly the phenomenon of ex libris, and the relation between mythology and printmaking in contemporary Eastern European countries.

Emily O’Leary is an art historian and curator. She graduated with a degree in art history from Purchase College, State University of New York after completing a curatorial fellowship at the Neuberger Museum of Art (Purchase, New York). As Associate Curator at the Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale, she has organized over 20 exhibitions, including The Politics of Paint: Landscape Painting in the Soviet Union, 1953–1964 (2014), Lithography in Leningrad: Soviet Graphic Arts in the 1950s and 60s (2014), Making Continuity Contemporary: Eastern Europe in New York (2016) and Vincent Hloznik: Between War and Dream (2015).

Anna Pravdova is an art historian and curator of the Collection of Modern Art at the National Gallery in Prague. She received a PhD in art history from Charles University in Prague and the University Paris 1 Pantheon-Sorbonne (she was awarded the John Jaffe Prize in France for her dissertation). Pravdova's research focuses on Czech artists living abroad and germane Czech-French relations. She curated a series of pertinent exhibitions, including Caught by the Night: Czechs Artists in France 1938–1945 (2015), Jan Krizek (1919–1985) and the Paris Art Scene in the 1950s (2013) and Jiri Kolar & Beatrice Bizot: Correspondage (2012). As a Fulbright Research Scholar at the Art Institute of Chicago (2015), she researched Czech artists in the US during WWII. Pravdova also authored two recent monographs, including Jan Krizek (1919–1985): Chez moi, l’homme ne doit jamais disparaitre [Jan Krizek (1919–1985): The human must be there] (2015). 

Emese Revesz, an art historian and curator, teaches as an associate professor at the Art History Department of the Hungarian University of Fine Arts, Budapest. Her most important research topics include the history of Hungarian printmaking in the 19th and 20th century, children’s book illustration and contemporary print. She published a number of books, including Image, Press and History: Illustrated Press in Hungary 1850-1870 (2015), and monographs of Hungarian painters (Istvan Csok, 2006, 2010; Adolf Fenyes, 2014), and curated various exhibitions, such as Printing, leaving traces: Dora Maurer’s graphic oeuvre 1955–1981(2017) and Szigoruan ellenorzitt nyomatok: Magyar sokszorositott grafika 1945–1961 kozott [Closely Watched Prints: Hungarian graphic prints between 1945–1961] (2018).

Breda Skrjanec is an art historian, curator and lecturer. She received her Master’s Degree in art history and sociology from the Faculty of Arts and Science, University of Ljubljana, Slovenia. She is a museum advisor at the International Centre of Graphic Arts (MGLC) in Ljubljana. Skrjanec was the first appointed curator for International Biennial of Graphic Arts, Ljubljana (2001). She has curated numerous exhibitions, including MGLC Collection – New Acquisitions, Ljubljana (2016), Janez Knez, Prints, Ljubljana (2015), 7th International Print Triennial, Sofia (2014), Impressions +386, Madrid (2013), Art as Drug, Beijing (2011), The Big Ones! Works from the Collection of MGLC, Ljubljana (2010), and others. Skrjanec writes articles for Likovne besede and Argo magazines.

Eva Trojanova is an art historian, curator and art critic. She received her Master’s Degree and PhDr in art history from the Department of History of Visual Arts of Comenius University in Bratislava, Slovakia. Her expertise includes modern and contemporary art with a focus on printmaking, abstract and constructive art as well as creative glass works. She worked at the Slovak National Gallery and later as Art Director at Gallery Nova in Bratislava. Since 2002, she has been collaborating with the Danubiana Meulensteen Art Museum in Bratislava. Trojanova has curated numerous exhibitions. Her writing prowess includes contributions to various publications and titles such as Vincent Hloznik (1985), Grafika cecoslovacca contemporanea (1991), The 1960s in Slovak Visual Arts (1995), Albin Brunovsky (1996), Central European Avant-garde 1907–1939 (co-authored by Julia Meszaros, 2001) and Borders of Geometry: Geometric and Constructive Tendencies in Slovak Art from 1960 to the Present (co-authored by Luba Belohradska, 2009). 

Krisztina Uveges is an art historian and curator who specializes in photography and performance art. She graduated from the Department of Art History at Lorant Eotvos University in Budapest. Uveges has curated over ten local and international exhibitions, including Miraculous System: Erno Tolvaly Retrospective Exhibition (2014) and her latest project, Image Tactics: The History of the Mako Graphic Artists’ Colony, 1977–1990 (2016), at the Ludwig Museum. She regularly publishes in journals, such as “Forbidden and Tolerated: Photo-based Graphic Procedures in the Seventies and Eighties” in Fotomuveszet [Art of photography] (2016) and others. Uveges works as a curator and librarian at the Ludwig Museum - Museum of Contemporary Art, Budapest.