Sara Garzón, PhD, is a Colombian curator and art historian based in New York City. Sara specializes in contemporary art after the 1990s and focuses on issues relating to decoloniality, temporality, and ecocriticism in Latin America. In her curatorial practice, Sara proposes examinations and optical perspectives to help unpack histories of resistance, knowledge exchange, and networks of artistic solidarity against colonial and Anthropocenic structures of power.

Sara has been the recipient of numerous grants and fellowships including the Andrew Harris Postdoctoral Fellowship at the University of Vermont (2021-2022), the Jane and Morgan Whitney Curatorial Fellowship (2020-2021), and the Lichez/Stronach Curatorial Fellowship (2014-2015) at the Metropolitan Museum of Art.

Sara has contributed to several exhibition catalogs, anthologies, peer-reviewed journals, and art magazines. Her most recent editorial project “Worldmaking Practices: A Take on the Future” invited a number of artists to elaborate on an intersectional account of contemporary Latin American futurity. The project was published with the support of the Colección Patricia Phelps de Cisneros in 2020. Sara’s previous article “Manuel Amaru Cholango: Decolonizing Technology and the Construction of Indigenous Futures,” was awarded Best Essay in Visual Culture Studies 2020 by the Latin American Studies Association (LASA).

Recently Sara was appointed curator of the “South to South: A Meeting on African and Afro-diasporic Technologies” (2023-2024), which is organized by the Pivô in Brazil and Centre d'art Waza in Lubumbashi, Congo with the support of the Humboldt Forum in Berlin. Before that, Sara also curated the experimental program on art and technology organized by Materia Abierta in Mexico. Under the name “The Rise of the Coyote,” Sara’s program brought together scholars, artists, and activists to investigate the intersection between plant intelligence, futurity, and Indigenous technologies.