My research on art and archives, feminist art, media arts, Latin American Art and its diasporas, video art, performance art, and research-creation has appeared in several monographs, edited books, peer-reviewed journals, and art catalogues.
A complete list of publications is available here.
Women Made Visible: Feminist Art and Media In Post-1968 Mexico ( Unviersity of Nebraska Press, 2019). Winner of the 2020 CALACS Book Prize in 2020.
Diffracting the North: Contemporary Latinx Canadian Experiences and Practices in Film, New Media, and Visual Arts. (Concordia University Press, 2025).
Aceves Sepúlveda, G. Amanda Gutiérrez, Victoria Polti, Ana Mora and Laura Balboa. (2025). “Listening to Noise: Lines of Affinity and Feminist Sono-Techno-Political artivisms from the South”. In Situated Listening: Attending to the Unheard edited by Freya Zinovieff, Stephanie Loveless, Tullis Rennie and Morten Søndergaard(Routledge Press),15-32.
Aceves Sepúlveda, G. (2026). “Chapter 5. Cross-cultural (dis)encounters with Latin American feminist art, Mexico 1970s and Vancouver 1980s”. In Art and Feminisms: Histories, Methods, and Legacies edited by Erin Silver (New York, Routledge), 68-85.
Aceves Sepúlveda, G. (2023). “Elizabeth Vander Zaag’s Digit Goes to Hawaii (1976) and Baby Eyes (1984).” p. 166-171 and “Feminist Embodiments of Interactivity: A Conversation with Elizabeth Vander Zaag Moderated by Gabriela Aceves Sepulveda”. p. 332. Designing the Computational Image, Imagining Computational Design edited by Daniel Cardoso Llach and Theodora Vardulli. (Applied Research and Design: San Francisco, CA).
Aceves Sepúlveda, G. (2024). “Listening to a photograph of Alicia Urreta: A woman’s oblique journey into music composition, Mexico 1930s-1980s.” In Switched On: The Dawn of Electronic Sound by Latin American Women edited by Luis Alvarado and Alejandra Cárdenas (Contingent Sounds Publishing Platform, Berlin), 174-187.
Aceves Sepúlveda, G. (2022). Las Mujeres se hacen visibles: los feminismos en el arte y los nuevos regímenes mediáticos y de visualidad en la Ciudad de México, 1971-2011. Lorena S. Murillo, translator (Bonilla Artigas Editores y CIEG -UNAM; México, 2022).
Claudia Costa Pederson, Gabriela Aceves Sepúlveda, Pat Badani. “Artful Minds, Healing, and Well-Being: Women, Art, Science, and Technology in Latin America, 1970s to the Present.” Leonardo 2025; 58 (6): 623–636
Aceves Sepúlveda, G. (2023). “La portapak en Latino América: The gendering of early video technology by women artists in Argentina, Brazil, Chile, Colombia, and Mexico.” In Encounters in Video Art in Latin America, ed. Elena Shtromberg and Glenn Phillips (Los Angeles, California: Getty Publications), 110-133.
Monographs
Aceves Sepúlveda, G., Analays Álvarez and Zaira Zarza, co-editors Diffracting the North: Contemporary Latinx Canadian Experiences and Practices in Film, New Media, and Visual Arts.
(Concordia University Press, 2025)
Aceves Sepúlveda, G.(2022). Las Mujeres se hacen visibles: los feminismos en el arte y los nuevos regimens mediáticos y de visualidad en la Ciudad de México, 1971-2011. Lorena S. Murillo, translator (Bonilla Artigas Editores y CIEG -UNAM; México, 2022).
Aceves Sepúlveda, G.(2019). Women Made Visible: Feminist Art and Media in Post-1968 Mexico. (University of Nebraska Press)Winner of the 2020 CALACS Book Prize
Journal Articles
Claudia Costa Pederson, Gabriela Aceves Sepúlveda, Pat Badani. “Artful Minds, Healing, and Well-Being: Women, Art, Science, and Technology in Latin America, 1970s to the Present.” Leonardo 2025; 58 (6): 623–636. doi: https://doi.org/10.1162/LEON.a.2556
Aceves Sepúlveda, Gabriela (2023). “Re-enacting/mediating/activating: Towards a collaborative feminist approach to research-creation”. In Technoetic Arts: A Journal of Speculative Research, Special Issue: ‘Women in Art and Science’, 21 (2): 175–91. https://doi.org/10.1386/tear_00110_1
Zinovieff, F., Droumeva, M., & Aceves Sepúlveda, G. (2023). “Elephant in the Matrix: Ethical Practice and Decolonial Praxis in Sonic Research”. In Resonance: The Journal of Sound and Culture, 4(4), 325–347. https://doi:10.1525/res.2023.4.4.325
Zinovieff, F., G. Aceves Sepúlveda,prOphecy sun, S. DiPaola (2022). “Connective Tissue and Bacterial Echoes: Four Artists, a River, and an Artificial Agent.” Ecocene: Cappadocia Journal of Environmental Humanities 3 (2): 173-178.
Aceves Sepúlveda, G.(2022) “Encounters with “Latin American Art” in Canada: From Toronto to Vancouver, 1999-2021.” Latin American and Latinx Visual Culture 4 (1): 122–136. https://doi.org/10.1525/lavc.2022.4.1.122
Klassen, L., and Aceves Sepúlveda, G. (2022).“Amplified Listening to Race and Gender in Fiamma Montezemolo’s Echo and Stephanie Dinkins’s N’TOO ” In Media-N, Journal of the New Media Caucus. Special issue No Template: Art and the Technologies of Race, Spring 2022, Vol. 18, Issue 1. https://doi.org/10.21900/j.median.v18i1.84
Sun, prOphecy, F. Zinovieff, G. Aceves Sepúlveda,S. DiPaola (2021). “Mitochondrial Crossings.” In Feral Feminisms 12, Special Issue on Hacking the Anthropocene, 68-72.
Zinovieff, F. and G.Aceves Sepúlveda(2020).“Maritime Boundaries: Sonic Blueprints of The Geopolitical”In Leonardo, Special Issue on Sound and Geopolitics, Vol. 30, December, 118-123.
Aceves Sepúlveda, G. (2020).“Digital Resources: Museo de Mujeres Artistas Mexicanas, MUMA.” In Oxford Research Encyclopedia of Latin American History. Oxford University Press, 2020. doi: https://doi.org/10.1093/acrefore/9780199366439.013.625.
Bronfman Alejandra, Dawson, Maia and Aceves Sepúlveda, G.(2018).“Making Pancakes: Intergenerational Cooking and Remediating the Archive.” In special edition on Archive/Anarchive/Counterarchive edited by Susan Lord and Jeanine Marchessault, Public Journal (57): 217-227.
Aceves Sepúlveda, G. and Aslizadeh Matilda.(2018). “Alternative Beginnings: Towards other Histories of Immersive Arts and Technologies”In Media-N, The Journal of the New Media Caucus (14), 1, 1-10.https://iopn.library.illinois.edu/journals/median/issue/view/4
Aceves Sepúlveda, G. (2018). “Arte, Contracultura y Política. La Guerra Fría a través del El Corno Emplumado/The Plumed Horn, 1962-1968. In Revista de Estudios Globales & Arte Contemporáneo, special issue on Cold War networks and circulations: cross-cultural dialogues and practices throughout the global south (1957-1991) Vol. 5, Núm. 1, 29-52. http://revistes.ub.edu/index.php/REGAC/article/view/19972
Aceves Sepúlveda, G., and Sarah Shamash. (2016).“Feminizing Oswald De Andrade’s Manifesto Antropófago and Vasconcelo’s Raza Cósmica : The Videos of Sonia Andrade and Pola Weiss.” In Media-N The Journal of the New Media Caucus, Special Edition Mestizo Technology: Art, Design, And Technoscience in Latin America 12 (1), 1, 12-19. http://median.newmediacaucus.org/mestizo-technology-art-design-and-technoscience-in-latin-america/
Aceves Sepúlveda G. (2015).“Imagining the Cyborg in Náhuatl: Reading the videos of Pola Weiss through Haraway’s Manifesto for Cyborgs.” In Platform: Journal of Media and Communication 6.2, 46–60. https://platformjmc.files.wordpress.com/2015/10/Sepúlveda_platformvol6-2_2015.pdf
Aceves Sepúlveda, G. (2013). “¿Cosas de Mujeres? : Film, Performance and Feminist Networks of Collaboration enunciated from Mexico in the 1970s.” In Artelogie Recherches sur les arts, le patrimoine et la littérature de l'Amérique latine 5: "Art et genre: femmes créatrices en Amérique Latine, 16 pages. http://cral.in2p3.fr/artelogie/spip.php?article230
Aceves-Sepúlveda, G. (2010).“Feminism as counter-archive: The collections of Ana Victoria Jiménez Mexico City, 1970-1990.” In Views from the Edge 18: 56-71
Chapters in Edited Volumes
Aceves Sepúlveda, G. (2026). “Chapter 5. Cross-cultural (dis)encounters with Latin American feminist art, Mexico 1970s and Vancouver 1980s”. In Art and Feminisms: Histories, Methods, and Legacies edited by Erin Silver (New York, Routledge), 68-85.
Aceves Sepúlveda, G., Analays Álvarez and Zaira Zarza. (2025). “Introduction: Surveying Latinx Canadian Interventions in Film, New Media and Visual Arts” in Diffracting the North: Contemporary Latinx Canadian Experiences and Practices in Film, New Media, and Visual Arts.
(Concordia University Press), 3- 42.
Aceves Sepúlveda, G. Amanda Gutiérrez, Victoria Polti, Ana Mora and Laura Balboa. (2025). “Listening to Noise: Lines of Affinity and Feminist Sono-Techno-Political artivisms from the South”. In Situated Listening: Attending to the Unheard edited by Freya Zinovieff, Stephanie Loveless, Tullis Rennie and Morten Søndergaard(Routledge Press),15-32.
Aceves Sepúlveda, G. (2024). “Trazos de la vida cotidiana en la cocina: reactivando el recetario de Mamá Pina, 1885-2017”. In Archivos, Escritura y Memoria. México siglo XIX y XX edited by Alma Dorantes González, María Teresa Fernández Aceves, Marcela López Arellano (Universidad Autónoma de Aguascalientes, CONAHCYT, Instituto Mora), 223-258.
Aceves Sepúlveda, G. (2024). “Listening to a photograph of Alicia Urreta: A woman’s oblique journey into music composition, Mexico 1930s-1980s.” In Switched On: The Dawn of Electronic Sound by Latin American Women edited by Luis Alvarado and Alejandra Cárdenas (Contingent Sounds Publishing Platform, Berlin), 174-187.
Aceves Sepúlveda, G. (2023). “Elizabeth Vander Zaag’s Digit Goes to Hawaii (1976) and Baby Eyes (1984).” p. 166-171 and “Feminist Embodiments of Interactivity: A Conversation with Elizabeth Vander Zaag Moderated by Gabriela Aceves Sepulveda”. p.332. Designing the Computational Image, Imagining Computational Designedited by Daniel Cardoso Llach and Theodora Vardulli. (Applied Research and Design: San Francisco, CA). ISBN: 9781954081345
Aceves Sepúlveda, G. (2023). “La portapak en Latino América: The gendering of early video technology by women artists in Argentina, Brazil, Chile, Colombia, and Mexico.” In Encounters in Video Art in Latin America, ed. Elena Shtromberg and Glenn Phillips (Los Angeles, California: Getty Publications), 110-133.
Aceves Sepúlveda, G.and Adriana Santos Melgarejo. (2022). “Carmen Barrada’s Plastica Musical: Crossovers between notation and painting, (1888-1963)” In Open Scriptures: Notation in Contemporary Art in Europe and the Americas, Susana González Aktories y Susanne Klengel (eds.), Iberoamericana/ Vervuert, Madrid/Frankfurt), 147-162.
Aceves Sepúlveda, G. (2019). “Intergenerational Cooking as Archival Practice: reflections on Remediating Mama Pina’s Cookbook.” In Gatherings, edited by Jenn Cole and Stephen Johnson(Jackson Creek Press, Peterborough, Ontario; 2019).
Aceves Sepúlveda, G. (2018). “Activist Archiving and the Feminist Movement in Mexico.” In Unsettling Activism: Older, Bolder, and Changing the World, edited by May Chazan, Pat Evans and Melissa Baldwin. (Women’s Press, 2018), 194-207.
Aceves Sepúlveda, G.(2018). “¡Estamos Hartas! Feminist Performances, Photography and the Meanings of Political Solidarity in 1970s Mexico.” In The Art of Solidarity: Visual and Performative Politics in Cold War Latin America edited by Jessica Stites-Mor and Maria del Carmen Suescun Pozas. (University of Texas Press, 2018), 149-192.
Aceves Sepúlveda G. (2017). “Artists' Networks in the 1960s. The Case of El Corno Emplumado/the Plumed Horn (Mexico City, 1962-1969).” In The Global Sixties: Convention, Contest, Counterculture, edited by Jadwiga Pieper Mooney and Tamara Chaplin, (New York: Routledge, 2017), 196-216.
Aceves Sepúlveda, G. (2017). “The Utopian Impulse in the Videos of Pola Weiss.” In Performing Utopias in Contemporary Americas edited by Alessandra Santos and Kim Beauchesne, (New York: Palgrave Macmillan, 2017), 283-300.
