Antonia Eiriz was born in 1929 in Juanelo, a village near Havana. As a child, she had polio, which left her with a disability for the rest of her life. In 1953, she enrolled in the National Academy. Inthe 50s, she became a part of the Los Once group and got known for her expressionist paintings. Between 1959 and 1963, she was an important voice in Cuban art representing her country in countless seminars abroad. In the late 60s, censorship started. Her work portrayed distorted and grotesque human beings, which the government did not like. In 1968, she stopped painting and returned to Juanelo where she created a papier-mache studio for children. In the 70s, she traveled several times to Miami, where she died in 1995. Currently, she is renowned in her country and there is a room in the National Museum of Cuba with her works.

Maria Luiza Bemberg, filmmaker, was born in 1922 from one of the most traditional families in Argentina. She got married, had children and lived in Europe for over ten years. When she returned to Argentina, she began to dedicate herself to cinema, becoming one of the most prestigious filmmakers of the time. She self-declared a feminist and founded the Argentine Feminist Union. Her films focused on women who broke established standards. 'Camila', nominated for for a best foreign film Oscar, was based on a true event of a young woman persecution. She died in 1995.

Lea Lublin was born in Poland in 1929 and immigrated at the age of 9 with her family to Argentina. She traveled to Paris for the first time in 1951 when she got close to a group of figurative artists. Back in Argentina, she lived for a few years in the Missiones region, where she quit painting and became a conceptual and multimedia artist. In 1968, she was invited to attend the 24th Salon de Mai in Paris, where she presented the performance “Mon fils” in which she takes care of her seven-month-old son at the Museum of Modern Art. She kept connected to the Argentine art scene and in the following years she performed some installations of ecological nature. In 1970, she returned to Paris where she began a new series questioning the commonplaces of artistic discourse. She died in Paris in 1999.

Victoria Santa Cruz was born in 1922 in Lima, Peru, the eighth out of ten children of a family of black artists, musicians and intellectuals. In 1958, she created the first black theater company in Peru with her brother. She researched ancestral dances and songs and developed a method of self-discovery based on what she called 'ancestral memory.' Between 1961 and 1965, she studied theater and dance in Paris. Upon returning to Peru, she founded the Teatro y Danzas Negras group with which she toured in many countries. When the company split in 1982, she became a professor at Carnegie Mellon University in Pittsburgh, USA. She died in Lima in 2014.

Kati Horna was born in 1912 in a family of Jewish bankers in Budapest. At the age of 19, she went to Berlin to study in a group of artists in which Bertold Bretch and Robert Capa, her childhood friend, participated in. In 1933, she fled from Germany with the rise of nazism. In Budapest, she attended to a photography course and then, she went to Paris where she started shooting. She went to Spain in 1937 and photographed for several anarchist magazines, in which she documented the life of communities during the Spanish civil war. She returned to Paris when her series about dolls (Dolls of Fear) had begun. In 1939, married to the Spanish artist Jose Horna, fled to Mexico, where she was part of a group of surrealist artists exiled in the country. She was a teacher and held various exhibitions, leaving a great mark in the Mexican art until her death in 2000.

Lourdes Groubet was born in 1940 and studied photography with Kati Horna. She devoted herself to painting, but quickly abandoned it for photography. She made several exhibitions in Mexico and, in 1977, she moved to Great Britain, where she studied at Cardiff School of Art and Design. Back in Mexico, she joined the Proceso Pentágono Group, a team who defined experimentation and group work as its main artistic tool. From the 80s onwards, she began a series about 'lucha libre', wrestlers in Mexico.

Cristina Khalo was born in 1960. Frida Khalo's grandniece, she is an important Mexican photographer who developed some series of photos that became books, such as Elogio da Geometria, which works on architecture. Cristina began this work from an essay on the Casa Estudio built for Diego Rivera and Frida Khalo by Juan O'Gorman. According to an art curator, Cristina is 'a creator facing her origins'.

The printmaker Luz Donoso was born in 1921 in Chile. In 1956, she enrolled in Taller 99 and made an exhibition with the group. In 1964, she painted the famous wall on the banks of the Mapocho River in Santiago in support of Salvador Allende's candidacy. Later on, she got a scholarship to study wall painting and she spent a year traveling around Europe. In 1971, she began teaching at the University of Chile. When the coup happened, she was dismissed, and in the following years, she began questioning the presentation of exhibitions in galleries.

Virginia Errazuriz was born in Santiago in 1941. She dedicated herself to the production of prints, drawings and installations. She was a curator between 1971 and 1973 of the Institute of Latin American Arts, created with the donation of artists from around the world in support of Salvador Allende's government. Along with the coup and closure of the Institute, she became a part of the Taller of Visual Arts, created by artists during Pinochet's dictatorship. Her work has a clear anti-establishment strand but also has a playful element. She defines her installations as puzzles that must be solved by the viewer. In recent years, she has been devoted to education and teaching in many universities in Santiago.

Lotty Rosenfeld was born in 1943 in Santiago and she is known for her work with printmaking, video art and socially engaged art. She studied at the University of Chile. After Pinochet's coup, she was one of the founders of the CADA group, which took many artistic proposals to the streets. The group's imagery production peaked in the early 80s when it created the No + (no more) symbol, which was then used by artists, activists and politicians to denounce a wide range of social injustice. Parallel to CADA's actions, she developed her own authorial work.