Christian Viveros-Fauné is a New York-based writer and curator, ex-art dealer and ex-art fair director (art fairs VOLTA and NEXT). As a writer, he has published in, among other venues, Art in America, Art in Australia, Artnet, Artnews, ArtNexus, Art Papers, Art Review, The Baffler, Departures Magazine, El Mercurio (Chile), Exit-Express (Mexico), Frieze (UK), Lápiz (Spain), La Tercera (Chile), Life & Style (Mexico), Quien (Mexico),The Art Newspaper, The New Yorker, The Paris Review  Daily and The New York Press (for which he was the weekly art critic between 1998-2003), and The Village Voice (for which he writes currently).
 
Viveros-Fauné has also contributed essays for various catalogs of contemporary art, among them Guillermo Kuitca (Hauser & Wirth Publishers), Vitamin D3: New Perspectives in Drawing (Phaidon), Vitamin T: Threads and Textiles in Contemporary Art (Phaidon), “Zhao Gang, The Road to Serfdom” (Ullens Center for Contemporary Art, Beijing, China); “Ahmed Alsoudini” (Phoenix Art Museum, Phoenix, USA); “Angel Otero: Everything and Nothing” (Contemporary Art Museum Houston), “Neo Rauch” (David Zwirner Publishers); “Authentic/Ex-centric: Conceptualism in Contemporary African Art” (Biennale di Venezia 49); “Lisa Yuskavage” (Museo Tamayo de Arte Contemporaneo, Mexico City, Mexico); “Beuys and Beyond” (Deutsche Bank Collection traveling exhibition); “Bronx Calling: The First Aim Biennial” (Bronx Museum, NY, USA).

Between 2001-2020 he curated, among other exhibitions: “The Neighbors: Slideshows for America” (USFCAM, Tampa, FL); “Life During Wartime: Art in the Age of Coronavirus” (USFCAM, Tampa, FL); “Gran Sur: Contemporary Chilean Art From the Engel Collection” (Alcalá 31, Madrid, Spain); “Zhao Gang: History Painting” (Pérez ArtMuseum of Miami, Miami, Florida); “Miki Kratsman: People I Met” (MAC Quinta Normal, Santiago, Chile); “Camino de Servidumbre II” (MAC Quinta Normal, Santiago, Chile); “Jorge Tacla: All That is Solid Melts into Air” (Fundación CorpArtes, Santiago, Chile); “Angel Otero: Elegies” (Bronx Museum, New York, NY); “Superflex: The Corrupt Show and the Speculative Machine” (MAC Quinta Normal, Santiago, Chile); “Richard Mosse: The Devil You Know”(CAAM Atlantic Modern Art Center, Las Palmas de Gran Canaria, Spain); “Ricos y Famosos: Young Chilean Art in a New Millenium” (Museo de la Solidaridad, Santiago, Chile); “Armando Morales” (Museo de Arte Contemporaneo de Monterrey, Mexico); “Yishai Jusidman: Paintworks” (Museo de Arte Moderno, Mexico City and Museo Amparo, Puebla, Mexico); “Plain Air: Extraordinary Landscapes” (2nd Canary Island Biennial, Tenerife, Spain); “Silencio para 5 + En la pampa” (Museo de Bellas Artes, Santiago, Chile), as well as hundreds of gallery exhibitions in the U.S. Viveros-Fauné also curated (together with Jota Castro) Dublin Contemporary 2011, the inaugural Irish biennial of contemporary art (dublincontemporary.com), which took place across multiple venues in Dublin including The National Gallery of Ireland, Dublin City Gallery The Hugh Lane, The Royal Hibernian Academy, and The Douglas Hyde Gallery.
Christian Viveros-Fauné was awarded the 2010 Creative Capital/Warhol Foundation Arts Writers Grant, named inaugural Critic-in-Residence at the Bronx Museum for 2010/2011 and served on the 2012 committee to select Chile’s representative to the 55th Venice Biennale. In 2015 he received a curatorial travel grant from the Spanish Ministry of Culture. In 2017, Viveros-Fauné appeared in Director Barry Avrich’s award- winning art world documentary “Blurred Lines: Deconstructing the World ofContemporary Art” (available on Netflix). Later in 2018 he received a grant from Chile’s National Fund for the Development of Culture and the Arts to organize the exhibition Transformers at Washington D.C.’s Art Museum of the Americas (AMA). In that same year, he was also hired as Curator-at-Large for USF’s Contemporary ArtMuseum. Since then he has organized six exhibitions for USFCAM (and counting).
 
As a writer and well known critic, he has also published and edited six books from 2011 to the present both in English and Spanish, the last one, Social Forms: A ShortHistory of Art and Politics, with David Zwirner Books in 2018. A collection of Viveros-Fauné’s criticism, Greatest Hits: Arte en Nueva York 2001-2011, was published byEditorial Metales Pesados in Chile in 2011. Greatest Hits II: Arte en Nueva York 2001-2015, was published by Spain’s CENDEAC in 2017. He has been a Lecturer at YaleUniversity and Pratt University, as well as a Visiting Critic at NYU, Rhode Island Schoolof Design and Holland’s Rietveld Academie. Christian Viveros-Fauné was namedKennedy Family Visiting Scholar at the University of South Florida for the academicyear 2018-2019.