Benfield, D.M. Beyond Binary Code. Monograph in progress, proposal under review, 2016.

Co-Edited Books

Benfield, D.M., and Garza, E. (Eds). Histories of Now: Digital Media and Contemporary Art, in Cairo and
(Based on exhibition and symposium organized in 2012). Website (in progress) and book published by the School of the Museum of Fine Arts, Boston, forthcoming 2016.

Co-Editor, Online Journal

Benfield, D.M. (et al). “Why Produce?” The Institute of (Im)Possible Subjects. Online Session One, forthcoming, March 2016.

Guest Editor, Online Journal

Benfield, D.M., (Ed). “Decolonizing the Digital/Digital Decolonizations.The Worlds and Knowledges Otherwise Dossier, Volume 31, Global Studies Workshop, Duke University, 2009.

Book Chapters

Benfield, D.M. “Where do I begin? A constellation. A decolonial story.” In Subjectivités féministes, queer et postcoloniales en art contemporain: un histoire en mouvements. University of Rennes, France, forthcoming 2016.

Benfield, D.M. “Beyond Binary Code.” In Momentum: Gender and Digital Art. IB Taurus,
London, forthcoming 2016.

Benfield, D.M. “Digital Natives.” In Video Vortex 9 Hybrid Video Reader. The Institute of Network
Cultures, Amsterdam, 2014.

Benfield, D.M. “Terceras Cinematografías: Terceros Espacios. Una Genealogía de la Producción Estética Descolonizada.” In Practicas Artísticas e Imaginarios Sociales: Evento Teórico, Oncena Bienal de La Habana, Ed. Dannys Montes de Oca Moreda. La Habana: Cuba: Ediciones Cupulas/ArteCubano Ediciones. 2014.

Benfield, D.M. “Preface.” The Arts and Emergent Bilingual Youth. Ed. Sharon Chappell. Routledge, 2013.

Benfield, D.M. “Cambiando la Ruta del Canal de Panama.” In Estéticas Decoloniales. Eds.
Pedro Pablo Gomez and Walter Mignolo. Bogotá, Colombia: Universidad Distrital Francisco José de Caldas, 2012.

Benfield, D.M. “Identifying the Latino (and Latina!) in “Latino Independent Media.”
In Mapping Latina/o Studies: An Interdisciplinary Reader. Eds. Angharad Valdivia and Matt Garcia. New York: Peter Lang, 2012.

Benfield, D.M. “Kimsooja: The Performance of Universality.” In Art and Social Justice Education: Culture as Commons. Eds. Lisa Hochtritt, John Ploof and Therese Quinn. New York: Routledge, 2012.

Benfield, D.M. and Arevalo, J. “You Say Media, We Say Justice! The North
American Media Justice Delegation at the World Summit on Information Society.” In Making Our Media: Global Initiatives Toward a Democratic Public Sphere. Eds. Dorothy Kidd, Clemencia Rodriguez and Laura Stein. New York: Hampton Press, 2009.

Benfield, D.M. “Transmodernities/Transdisciplines.” In Transitio_mx Exhibition Catalogue. Universidad de Bellas Artes: Mexico City, Mexico, 2008.

Articles and Essays

Benfield, D.M. “Cinema flows, Like water” In Moscow Art Magazine, upcoming February 2016.

Benfield, D.M. “Star. Grasses. Waterfall. Window.” In, upcoming Winter 2015.

Benfield, D.M., et al. “Decolonial Aesthetics Manifesto.” In FUSE Magazine, Fall 2013.

Benfield, D.M. “Flow.” In Social Text/Periscope, special edition on “Decolonial AestheSis.” Eds. Walter Mignolo and Rolando Vasquez. July, 2013.

Benfield, D.M. et al. “Décolonialité et expérience esthétique: une approximation.” In Espace Public, Inter No. 111: Pratiques Artistiques et Imaginaires Sociaux, 2011.

Benfield, D.M. “After Memory: Ghosts, Ancestralities and Chrono-politics.” In Michelle
Dizon. CUE Art Foundation, NY, NY. Exhibition on-line catalogue and dossier. 2010.

Benfield, D.M. and Faber, M. “Growing Power: Why form a network for the distribution of youth media?” In The Independent, June 2001.

Benfield, D.M. “Dis-mantling the Master's Tools.” Social Theory Column,
National Art Education Association Newsletter, June 1998.

Benfield, D.M. “Video Machete: Video Production as Popular Education.” In Community Media
Review, Feb. 1997.

Benfield, D.M. “Cartography of a Cross-Cultural Traveller.” In Nomadas, exhibition catalogue, Chicago: Randolph St. Gallery, 1993.

Benfield, D.M. "Pana-Gringa.” In Whitewalls, Dec. 1992.

Benfield, D.M. "La Ruptura Latina.” In La Ruptura Latina exhibition catalogue, Chicago: N.A.M.E. Gallery and Center for New Television. 1992.

Encyclopedia Entry

Benfield, D.M. “Video.” In The Routledge International Encyclopedia of Women. Eds. Cheris Kramarae and Dale Spender. New York and London: Routledge, 2001.



HD: Haceres Decoloniales. SALASAB, Bogotá, Colombia. Curated by Pedro Pablo Gomez Moreno. Installation co-designed with Robert Ochshorn. August 2015.

Subjectivités féministes, queer et postcoloniales en art contemporain. PHAKT Cultural
Centre, Rennes, France. Organized by Marie-Laure Alain Bonilla and Elvan Zabunyan. April 2015.

los archivos del cuerpo [body files]. Solo exhibition of collective project. Huret & Spector Gallery, Emerson College, Boston, MA. February-March 2015.

Challenging Everyday Militarisms and Bridging Communities of Women, Rutgers University. Curated by Annie Fukushima and Suzy Kim in conjunction with symposium, “Rethinking the Asia Pivot: Everyday Militarisms and Bridging Communities of Women.” December 2014.

Decoloniality/Indigeneity/@rt. Fredric Jameson Gallery, Duke University. Curated by Miguel Rojas-Sotelo, Kency Cornejo, and Raul Ferrera-Balanquet. April 2014.

Alucine Festival. “Internet and Network-Based Art Projects.” Curated by Julieta Maria, e-fagia collective, Toronto, Canada. February 2014.

M.A.K.E. Wasserstein Hall, Harvard Law School. Collectively organized exhibition of collaborative digital media art made with youth in conjunction with the “Digitally Connected”
International Symposium, UNICEF and the Berkman Center for Internet and Society at Harvard University. April 2014.

Arte Nuevo Interactiva 2013. Museo y Centro Cultural Áak, Mérida, Mexico. Group exhibition
organized by Raul Ferrera-Balanquet. May 2013.

Five Decolonial Days in KasselDocumenta 13, Kassel, Germany. Group event/intervention organized by Pedro Lasch in collaboration with the AND...AND...AND platform created by Rene Gabri and Ayreen Anastas, “100 Days of Non-Capitalist Life.” July 2012.

Decolonial Aesthetics. Group exhibition curated by Walter Mignolo, Hong-An Trang, and
Miguel Rojas-Sotelo. Fredric Jameson Gallery, Duke University. May 2011.

Frames. GASP Projects Space, Boston, MA. Group exhibition curated by Neil Leonard and
Maria Magdalena Campos-Pons, in conjunction with artist residency at Berklee College of Music. December 2010.

Estéticas Decoloniales. Espacio Parqueadero, Museo del Banco de la Republica, Bogotá, Colombia. Group exhibition curated by Walter Mignolo and Pedro Pablo Gomez, with three sites, including the Museo de Arte Moderno-MAMBO and SALASAB. 2010.

Typos in the Writing on the Wall. Sarai Media Lab. Group exhibition on an Internet platform organized
by Raqs Media Collective and Sarai. 2009.

Emergency Biennial. Traveling transnational group exhibition curated by Evelyne Jouanno. Playspace Gallery, California College of Art, San Francisco, CA, Jan. 2008; Galeria Arsenal, Bialystok, Poland, 2009; Tlibisi, Georgia, 2009; Bangkok, Thailand, 2012.
Paper Tiger TV anniversary program, Berkeley Community Television. 2008.

Premiere screening of Voces y Luchas. DePaul University, Chicago, IL. 2004.

Taos Talking Pictures Festival, Taos, NM. 2002.

Arte Nuevo Interactiva. Group show curated by Raul Ferrera-Balanquet, Museo de Arte
Contemporanea de Yucatán, Merida, Yucatan, Mexico. 2001.

Gen Y Studio, Sundance Film Festival. 2001.

Atlanta International Film Festival, Atlanta, GA. 2001.

Featured Artists, Taos Talking Pictures Festival, Taos, NM. 2001.

GRRL POWER, Women in the Director’s Chair International Film and Video Festival,
Chicago, IL. 2001 New Museum of Contemporary Art, NY. 1998.





agua-cine (water|cinemas). Multi-channel video and mixed media installation with photography, print publication, and workshop/performance, 2014 – ongoing. The project engages in a media archaeology and crowd-sourced process of mapping stories and struggles over global water resources with the Bolivian constitution’s assertion of the rights of mother earth at its center along with the re-imagining of water through multiple discursive forms, with contributions from Pierre Archambault (Quebecois/US), Choralyne Dumesnil (France),Pedro Pablo Gomez Moreno (Colombia), El Churo Media Collective (Ecuador), Tom Jones (Ho Chunk/US), Hunter Neal (US), Enrique Castro Ríos (Panama), Matthew Shropshire (US), Raqs Media Collective (India), Alan Strassman (US), and others. Initially built using the platform developed by the Center for Civic Media at MIT, led by Sasha Costanza-Chock.

los archivos del cuerpo [body files]. Multiple channel video installation with online, crowd-sourced tumblr platform and mixed media installation, 2013 – ongoing. With work by Joeser Alvarez (Brazil), Raul Moarquech Ferrera-Balanquet (Cuba/Mexico/US), Lindsay Benedict (US), Benvenuto Chavajay (Guatemala), Daniel Brittany Chavez (US/Mexico), Maria Magdalena Campos Pons (Cuba/US), Annie Fukushima (US), Pedro Pablo Gomez (Colombia), Jane Jin Kaisen (Denmark/S. Korea), María C. Lugones (Argentina/US), Teresa María Díaz Nerio (Dominican Republic/The Netherlands), Robert Ochshorn (US), Naomi Elena Ramirez (US), tammy ko Robinson (Korea), Zvonka Simcic (Slovenia), Gustin Sondig (Denmark), Filippo Spreafico (Italy), and others. The work is a collective archive of "the files of the body,” revealing the body as a site of struggle between the frictions of multiple valences and hegemonic globalization, social movements, nationalisms and indigenisms, sexuality, and constructions of gender and race.

hotel/panamá. 4 to 24-channel video installation, 2010 – ongoing. Multiple digital videos relay a spectrum of moments from the technologies and archives of the Panama Canal, creating a transmodern assemblage of historical, perspectival, temporal and epistemological fractures and trajectories.

FWD:[Fwd: Suite de notre conversation]. Online text/image piece meditating on routes of transformation and communication, 2009. Co-produced with Isabelle Massu for “Typos in the Writing on the Wall,” on-line exhibition, SARAI, Centre for Developing Societies, New Delhi, India.

Watch, Wait. Cinematic artists’ book, 2007. With drawings by Chris Bratton. Reflects on parallel historic routes of resource extraction, territorial expansion, linguistic hybridity and cinematic friction. It uses original text, images and archival stills from cinema history.

Voces y Luchas. 45 min. video, website and curriculum guide, 2003. Documentary based on oral histories and the politics of testimony and history with Chicago Latinos and Latinas. Co-produced with Video Machete, co-sponsored with the DePaul Center for Latino Research, and funded by the Illinois Humanities Council.

Artifactos del Archivo de la Red Feminista. Video and multi-media installation, 2000. This multi-media installation documents a fictional history of Latina guerilla media activism, proposing a series of premises and analyses for future interventions.

Mi Cuerpo, tu cuerpo, y el espacio entre los dos. Video and interactive CD-Rom, 2001/2014. Experimental hypertext piece using poetry, text, interviews, and archival images to explore bi-lingualism, bi-culturalism, bi-sexuality, mothering, and other excesses. Recently transposed as a one-act play to be produced by the Latino Experimental Theater, Chicago, IL in 2016.

Voces y Videos, videotape installation for live poetry performance, 60 min., 1994. Commissioned by the Chicago Latino Experimental Theatre Company.

Canal Zone/La Zona del Canal, videotape installation and single-channel video, 25 min., 1993. Explores colonial history of Panama Canal through an autobiographical lens.

Home Birth/Partos en Casa, videotape, 26 min. 1992. Bi-lingual documentary about home birth. Commissioned by Chicago Community Midwives, co-produced with Salome Chasnoff.

The Women of Pilsen/Mujeres de Pilsen, videotape, 180 min., 1992. Oral history of
Chicana/Mexicana women in Chicago. Co-produced with Maria C. Lugones and ten women participants.

The Fantastic Moms, videotape, 15 min., l990. Documentary about teen mothers. Co-produced with "The Fantastic Moms," a teen mothers group, and Salome Chasnoff.

Potential Pictures, videotape, 25 min., l990. Experimental narrative about multiple women’s abortion experiences.

Selected works by Video Machete

Ju-Nam. Video, 14 min., 2000. Interrogates indigenous identities and signifiers with a group of Native American-identified youth.

Yo Quiero Ser. Video, 60 second public service announcement, 2000. Young women of color make demands to exist. Produced for the Listen UP! Project, sponsored by the Merrow Report, New York, N.Y.

Don't Wake Me Up. . .I'm Dreaming. Video and performance,13 min., 1998. Collectively produced and performed video/performance representing young women's experiences of love, sexuality and sexism. Produced for and performed at Museum of Contemporary Art, Chicago.

Division 11 Diary. Video, 8 min., 1997. Experimental documentary of Video Machete member Ramiro Rodriguez' experience in maximum security division of Cook County Correctional Center.

No Pictures. Video installation, 60 min., 1997. A television screen is flanked by images of the police and maps of the city. On the screen is the text “No Pictures,” with a soundtrack of a young man his incarceration.

Puntos y Rayas. Video installation, 45 min., 1996. Three monitors, each emblazoned with urban street art, represent three different perspectives on the city: young women's - the gangs' - the police. Commissioned by New Museum of Contemporary Art, NY.