ORCID as entered in ROS

Select Publications
2023, Future Souths: Dialogues on Art, Place, and History, Tello V, (ed.), Third Text Publications and Discipline, London and Melbourne, http://thirdtext.org/future-souths
,2016, Counter-Memorial Aesthetics: Refugee Histories and the Politics of Contemporary Art, Bloomsbury, London and New York, http://bloomsbury.com/us/counter-memorial-aesthetics-9781474252744/
,2019, 'The Speculative Collectivity of the Global Transnational, Or, Social Practice and the International Division of Labour', in Eckersall P; Grehan H (ed.), The Routledge Companion to Theatre and Politics, Routledge, London and New York, pp. 151 - 155, https://www.routledge.com/The-Routledge-Companion-to-Theatre-and-Politics-1st-Edition/Eckersall-Grehan/p/book/9781138303485
,2018, 'Aesthetic Autonomy at the Border: Notes on Necro-Art', in Lushetich N (ed.), The Aesthetics of Necropolitics, Rowman and Littlefield, London and New York, pp. 55 - 55, https://rowman.com/ISBN/9781786606853/The-Aesthetics-of-Necropolitics
,2013, 'Automated Drawing: Gosia Wlodarczak', in Rattemeyer C (ed.), Vitamin D2: New Perspectives in Drawing, Phaidon, London, pp. 332 - 334
,2013, 'Post-photography: Maria Kontis', in Rattemeyer C (ed.), Vitamin D2: New Perspectives in Drawing, Phaidon, London, pp. 154 - 156
,2013, 'Tracing the Past: Richard Lewer', in Rattemeyer C (ed.), Vitamin D2: New Perspectives in Drawing, Phaidon, London, pp. 178 - 180
,2011, 'Timing History: Li Songsong', in Schwabsky B (ed.), Vitamin P2: New Perspectives in Painting, pp. 186 - 190
,2022, 'Counter-memory and and–and: Aesthetics and temporalities for living together', Memory Studies, 17, pp. 390 - 401, http://dx.doi.org/10.1177/1750698019876002
,2022, 'Southern Atlas: Art Criticism in/out of Chile and Australia during the Pinochet Regime', Third Text Online, http://www.thirdtext.org/tello-valenzuela-southernatlas
,2022, 'A Partial History of South-South Art Criticism: Juan Dávila's collaborations with Art & Text and Chilean art workers during the Pinochet regime (1981-1990)', Third Text, 35, pp. 709 - 731, http://dx.doi.org/10.1080/09528822.2021.2019954
,2021, 'A Partial History of South-South Art Criticism Juan Davila's Collaborations with Art & Text and Chilean Art Workers during the Pinochet Dictatorship, 1981-1990', THIRD TEXT, 35, pp. 709 - 731, http://dx.doi.org/10.1080/09528822.2021.2019954
,2021, 'A Partial History of South–South Art Criticism: Juan Dávila’s Collaborations with Art & Text and Chilean Art Workers during the Pinochet Dictatorship, 1981–1990', Third Text, 35, pp. 709 - 731, http://dx.doi.org/10.1080/09528822.2021.2019954
,2020, 'What is contemporary about institutional critique? A Study of The Silent University', Third Text, 34, pp. 635 - 649, http://dx.doi.org/10.1080/09528822.2020.1841409
,2014, 'The Aesthetics and Politics of Aftermath Photography: Rosemary Laing's welcome to Australia (2004)', Third Text: third world perspectives on contemporary art and culture, 28, pp. 553 - 560
,2024, Archie Moore, kith and kin, https://www.memoreview.net/reviews/archie-moore-kith-and-kin-at-venice-biennale-by-veronica-tello
,2024, What We Inherited, Memo, https://www.memoreview.net/magazine/issue-1/what-we-inherited
,2022, Screwball, https://www.memoreview.net/reviews/screwball-at-verge-gallery-by-vernonica-tello
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