Ingrid W. Elliott is an independent scholar and curator specializing in Cuban art. Most recently, Ingrid consulted for the Tate Modern and The Metropolitan Museum of Art on their joint exhibition, "Global Surrealism." In 2019, Ingrid contributed an essay on Zilia Sánchez for the Phillips' Collection's monographic exhibition on the contemporary Cuban artist. In 2016 she curated "Diálogos constructivistas en la vanguardia cubana: Amelia Peláez, Loló Soldevilla and Zilia Sánchez" at Galerie Lelong in New York City. Prior to this, she served as co-curator of “Amelia Peláez: the Craft of Modernity” at the Pérez Art Museum Miami (2013-2014). Forthcoming publications include “The Havana Vanguard in La Revista de Avance & the Lyceum Gallery” in A Companion to Modern and Contemporary Latin American and Latino Art, edited by Alejandro Anreus, Robin Greeley, and Megan Sullivan (Chichester, UK: Wiley-Blackwell Press, 2020) and "History and Metamorphosis: Cuba's Museo Nacional de Bellas Artes" in Art Museums in Latin America: Structuring Representation, edited by Gina McDaniels and Michele Greet (London: Routledge, 2018). Ingrid received her Ph.D. in Art History from the University of Chicago (2010), with the support of a Fulbright-Hays fellowship for research in Cuba. She is currently an adjunct professor of Latin American art at Seattle University, and has taught previously at the University of Chicago and Roosevelt University. "How the Baroque became Vanguard," her current book project, examines the role of gender and nationalism in the emergence of a baroque aesthetic in Cuban avant-garde painting of the 1930s and 1940s.