Caroline A. Jones has taught in and/or directed the History, Theory, Criticism program of the Department of Architecture at MIT for 15 years. She studies modern and contemporary art, with a particular focus on its technological modes of production, distribution, and reception, and on its interface with science. Recent curated interventions include (at MIT’s List Visual Art Center) Sensorium (2006), Video Trajectories (2007), and Hans Haacke 1967 (2011). Her publications include The Global Work of Art (Chicago 2016); Sensorium: embodied experience, technology, and contemporary art (as editor, MIT 2006), Eyesight Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses (Chicago 2005/08), Machine in the Studio: Constructing the Postwar American Artist (Chicago 1996/98), the co-edited volumes Picturing
Science, Producing Art (1998), Experience: Culture, Cognition, and the Common Sense (MIT 2016) and other works. A frequent contributor to Artforum, Jones’s recent essays in exhibition catalogues have addressed Walter Benjamin’s optical unconscious (2017), Anicka Yi’s bio-art (2016), and the shop practices of Andy Warhol/Ai Wei Wei (2016). On leave at the National Humanities Center for 2017-18, she is engaged in a collaboration with historian of science Peter Galison, researching patterns of occlusion and political contestations in what she calls "the anthropogenic image" of environmental disaster.