Sara Garzón, PhD, is a Colombian curator and art historian whose work has been instrumental in shaping contemporary understandings of Latin American art since the 1990s. Her scholarship and curatorial practice focus on decoloniality, temporality, and ecocriticism, advancing critical frameworks that interrogate histories of resistance, knowledge exchange, and transnational networks of artistic solidarity forged in opposition to colonial and Anthropocenic structures of power. Through sustained research and exhibition-making, Sara has played a pivotal role in redefining the intellectual and ethical horizons of curatorial practice in the region.

Sara received her PhD in Art History from Cornell University and her MA in Art History and Archaeology from the Institute of Fine Arts at NYU. She has been the recipient of numerous prestigious 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 Lifchez-Stronach Curatorial Fellowship (2014–2015) at The Metropolitan Museum of Art.

She is currently Associate Curator of Contemporary Art at the Harn Museum of Art, where she is committed to expanding the representation of Indigenous and Latinx artists, particularly in new media and moving-image practices. Sara also served as Associate Curator of the II Bienal das Amazônias, Verde Distância (2025). In this edition Sara set out to examine poetics of relation within forestine and riverine contexts. Previously, she curated the two-year research initiative South to South: A Meeting on African and Afro-Diasporic Technologies (2023–2024), developed in collaboration with Pivô in Brazil and Centre d’art Waza in Lubumbashi, Congo, with support from 99 Questions in Berlin. She also curated The Rise of the Coyote, an experimental program on art and technology organized by Materia Abierta in Mexico, which convened artists, scholars, and activists to explore intersections of plant intelligence, futurity, and Indigenous technologies.

Garzón has contributed extensively to exhibition catalogues, anthologies, peer-reviewed journals, and leading international art magazines. Her most recent edited volume, The Anti-Manual of Care and Accountability, brings together texts by prominent artists and curators to critically address questions of care, responsibility, and institutional practice. She also edited and curated Worldmaking Practices: A Take on the Future, a publication supported by the Colección Patricia Phelps de Cisneros (2020) that has become a key reference in debates on Latin American futurity. Her article “Manuel Amaru Cholango: Decolonizing Technology and the Construction of Indigenous Futures” received the Best Essay in Visual Culture Studies Award from the Latin American Studies Association in 2020.