George Baker is Professor of Art History at UCLA, where he has taught modern and contemporary art and theory since 2003. A New York and Paris-based critic for Artforum magazine throughout the 1990s, he also works as an editor of the journal October and its publishing imprint October Books. He regularly offers courses on all aspects of modernism and the historical avant-garde, on the history of photography in the 19th- and 20th-centuries, and on specialized topics in post-war and contemporary art history. Baker received his Ph.D. from Columbia University, and is a graduate of the art history program at Yale University and the Independent Study Program of the Whitney Museum of American Art. He has received, amongst others, an Andrew Mellon Fellowship in the Humanities, CASVA and Whiting Foundation fellowships, and a postdoctoral fellowship from the Getty Research Institute. Professor Baker is the author, most recently, of The Artwork Caught by the Tail: Francis Picabia and Dada in Paris (MIT Press, 2007), and several other books including James Coleman: Drei Filmarbeiten (Sprengel Museum, 2002), and Gerard Byrne: Books, Magazines, and Newspapers (Lukas & Sternberg, 2003). He has published essays on a variety of postmodern and contemporary artists including Robert Smithson, Robert Whitman, Anthony McCall, Louise Lawler, Andrea Fraser, Christian Philipp Müller, Tom Burr, Rachel Harrison, and Knut Åsdam. In 2007 and 2008, his essay on the artist Paul Chan was published in a catalog that accompanied Chan’s major exhibition of the project The 7 Lights at the Serpentine Gallery in London and the New Museum in New York. Baker subsequently published an interview with Chan for the recent anti-war issue of October. Currently, he is working on disparate projects including a revisionist study of Picasso’s modernism and a shorter book on the work of four women artists--Zoe Leonard, Tacita Dean, Moyra Davey and Sharon Lockhart--to be entitled Lateness and Longing: On the Afterlife of Photography. The latter is part of a larger project that Baker has termed “photography’s expanded field,” detailing the fate of photography and film works in contemporary cultural production.