‍Lotty Rosenfeld (Carlota Eugenia Rosenfeld Villarreal) was a Chilean visual artist born in Santiago in 1943 and is known primarily for her work in printmaking, video art, and socially engaged art practice. She studied at the Escuela de Artes Aplicadas at Universidad de Chile, from 1967 to 1969. In 1979, Rosenfeld founded the artists' collective CADA (Colectivo de Acciones de Arte) with the poet Raúl Zurita, the sociologist Fernando Balcells, the writer and artist Diamela Eltit, and the artist Juan Castillo. Rosenfeld’s most iconic action is Una milla de cruces sobre el pavimento (A thousand crosses on the pavement, 1979), in which she attempted to reclaim public spaces that had been seized under the regime of Augusto Pinochet by placing tape across the dashed white lines separating traffic lanes on highways, turning the traffic markers into crosses or plus signs. Rosenfeld has been the recipient of the highest honors given in Chile: the Premio a la Trayectoria Artística (1995) of the Círculo de Críticos de Arte de Chile, the Paoa Prize (2001) of the International Film Festival in Viña del Mar, and the Premio Altazor de las Artes Nacionales (2003). Rosenfeld has exhibited at major museums including The Museum of Modern Art, New York; the Hammer Museum, Los Angeles; the Brooklyn Museum, New York; Museo de Arte Contemporáneo, Santiago; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Tate Modern, London. Her work was featured in the Chilean Pavilion at the 56th Venice Biennale (2015) and Documenta 12, Kassel (2007).

Chilean video director and producer Tatiana Gaviola has been an influential figure in the development of her country's audiovisual productions. Her work alternates between documentary and avant-garde. Although she was originally trained to become a filmmaker at the School of Communications Arts at the Catholic University of Chile, where she graduated in 1979, Gaviola turned to video as it gave her more freedom from the political constraints and budgetary limitations imposed on feature filmmmakers after the 1973 military coup. Gaviola's videos have been produced by every major film studio in Chile. Many of her videos center around the political struggles of women, but she also produces works about historical issues. Her work has been shown throughout Europe and North America. In addition to video-making, she also takes part in international workshops for feminist collectives.

‍Gloria Camiruaga was a Chilean video artist and documentarian born in Santiago in 1941. After obtaining a bachelor's degree from the Universidad de Chile in Santiago in 1971, Camiruaga studied video art at San Francisco Art Institute and graduated in 1980. As one of Chile's first video artists, Camiruaga dedicated her life to creating a space for women and transgender people through video art. One of her most influential works, the video La venda (The blindfold, 2000), documents the testimony of ten women who were tortured during the military dictatorship of Augusto Pinochet. The title refers to the method by which the bodies of women were violated: after they were blindfolded, the women were undressed, raped, and tortured. Her videos and documentaries expose dictatorial power structures and its violent aftermath in Chilean history. Camiruaga received an award at the eighth Festival Franco-Chileno de Video Arte (1988) and grants from the John D. and Catherine T. MacArthur Foundation (1992) and Rockefeller Foundation (1993). She died in 2006 at age sixty-five.

‍C.A.D.A. (Colectivo Acciones de Arte) was an art action group whose members included the artists Lotty Rosenfeld and Juan Castillo, the writer Diamela Eltit, the sociologist Fernando Balcells, and the poet Raúl Zurita. The collective used the public space as a backdrop for their actions. Their first project was Para no morir de hambre en el arte/To Avoid Starving to Death in Art (1979), which involved several simultaneous components consisting of actions staged: in a working-class neighborhood in Santiago, outside of the United Nations building, at the Galería de Arte Centro Imagen, and in an insert that referenced the action in HOY magazine. Their interventions intended to interrupt normalized routines of daily urban life, with semiotic subversion, and decontextualize urban behaviors, locations, and signs. C.A.D.A.’s most celebrated project is a campaign they began in 1983, No +, which protested the 10th anniversary of Pinochet’s dictatorship by spreading in public spaces an open-ended slogan that citizens were invited to complete. “No + dictadura” (No more dictatorship), “No + hambre” (No more hunger) or “No + torturas” (No more torture) was written on public walls and displayed on political banners.

Born in 1935 in Rio de Janeiro, Sonia Andrade was part of the first generation of video artists in Brazil, studying under Anna Bella Geiger. Her experimental videos use the body as central to her filmed actions often using scenes of self-aggression, humor, and political commentary to break down accepted visual codes. Andrade produced pioneering video work of critical weight in the 1970s during Brazil's dictatorship era (1964-1985), participating in Prospectiva 74 at the Museum of Modern Art in São Paulo – the first public exhibition of video art in Brazil – then in the International Biennale, which also took place there in 1977. Her most recent exhibition was in 2023 as part of Area Play at Silvia Cintra + Box4 in Rio de Janeiro. Some of her works are housed in public collections in Brazil and internationally at the Centre Pompidou (Paris, France), Getty Research Institute (Los Angeles, USA), Haward Art Museum (Boston, USA) and Kunstgewerbemuseum (Zurich, Switzerland).

Born in 1930, Salvador Brazil, Letícia Parente was a Brazilian visual artist who specialized in politically charged video art. She also holds a degree in chemistry and has combined her dual interests in science and art to create the exhibition Medidas (Measurements), held at the Museum of Modern Art, Rio de Janeiro in 1976. Her surreal short films feature elements of body art and performance art which announce body subjectivity and the female condition in a sexist society as central to her practice. Much of her work focuses on protesting the use of mass torture by the military dictatorship in Brazil throughout the 1970s. Parente's pieces have been selected for important exhibitions in Brazil and abroad, such as the 16th Bienal de São Paulo (1981); International Open Encounter on Video Art (1975, 1976, 1978, 1979), organized by the Center of Art and Communication, Buenos Aires; and Pioneers of Brazilian Video Art, 1973–1983 (2004), organized by the J. Paul Getty Museum, Los Angeles.