Carlos Quijon, Jr. is an art historian, critic, and curator based in Manila. He was a fellow of the research platform Modern Art Histories in and across Africa, South and Southeast Asia (MAHASSA), convened by the Getty Foundation’s Connecting Art Histories project. He writes exhibition reviews for Artforum. His essays are part of the books Writing Presently (Manila: Philippine Contemporary Art Network, 2019) and From a History of Exhibitions Towards a Future of Exhibition-Making: China and Southeast Asia (Berlin: Sternberg Press, 2019), and SEA: Contemporary Art in Southeast Asia (Berlin: Weiss Publications, 2022). He has published in Southeast of Now: Directions in Contemporary and Modern Art (SG), Frieze (UK), Afro-Asian Visions (UK), MoMA’s post (US), Queer Southeast Asia, ArtReview Asia (Singapore), Art Monthly (UK), Asia Art Archive's Ideas (HK), and Trans Asia Photography Review (US), among others. In 2017, he was a research resident in MMCA Seoul and a fellow of the Transcuratorial Academy both in Berlin and Mumbai. He is an upcoming resident at the International Studio and Curatorial Program in New York (funded by the Asian Cultural Council) in 2023 and the Singapore Art Museum in 2024. He curated Courses of Action in Hong Kong in 2019, curated a will for prolific disclosures in Manila, co-curated Minor Infelicities in Seoul in 2020 and Afro-Southeast Asia: Pragmatics and Geopoetics of Art during a Cold War in Singapore (2021), Manila (2021-2), and Busan (2022). He is the curator of the research, publication, and exhibition platform Archipelagic Futurisms (2022-). He is the curator of the Philippine Pavilion at the 60th Venice Biennale in 2024.