Sarah S. King is the co-founder of SNAP Editions, where she has been Editor-in-Chief since establishing the company in 2005. King brings decades of experience to her role, having previously served as Senior Editor and Picture Editor at Art in America during the 1990s, where she continues to contribute as a correspondent. In 1999, King was appointed the first Head of Publications at SITE Santa Fe in New Mexico, where she oversaw the entire production of the museum's exhibition catalogues, as well as education and collateral materials. During that time, she also held the position of Special Projects Editor for the Georgia O'Keeffe Museum. Throughout her career, King has contributed exhibition catalogue essays to institutions across the world. Her professional background also includes work as a translator and photographic researcher for publications in art history and criticism and literature.

Louise E. Decoppet is a New York City-based art historian, writer, and editor. She has worked in the curatorial departments of the Art Institute of Chicago and the British Museum, where she helped curate the Palestine & Cracherode Rooms permanent installation, as well as the Harvard Art Museums' Fine Arts Library, and in international galleries and fine arts dealerships in Milan and London. She has experience designing and editing literary, art, and law journals, textbooks, and academic papers, as well as researching and drafting exhibition labels, catalogues, and brochures. She holds an MA in Art History from the Courtauld Institute of Art in London, and a BA in Art History from Harvard University, where she wrote her thesis under Henri Zerner. She also holds a law degree from the University of California, Berkeley. She speaks fluent French and Italian.

Brianna Di Monda is a writer, editor, and literary critic who concurrently serves as Editor-in-Chief of the Cleveland Review of Books. Her criticism and essays have appeared in Dissent, Lapham's Quarterly, The Nation, Verso, and The Brooklyn Rail, with a focus on contemporary literature and feminist theory. As a fiction writer, her work has been published in Prairie Schooner, 3:AM, and Worms Magazine, among others. Her writing has been nominated for the PEN/Robert J. Dau Short Story Prize for Emerging Writers, was a semifinalist for the American Short(er) Fiction Prize, and won the Glenna Luschei Award. She's interested in writing that explores fairy tale forms in contemporary settings and the intersection of genre and literary traditions. Before joining SNAP Editions, she taught English in France and received her BA in comparative literature and French from Oberlin College.

David Ebony, a longtime Art in America staff member, is currently a Contributing Editor of the magazine. He has written for the magazine numerous features, reviews, and news items on a wide range of subject matter and artists, including Per Kirkeby, Piero Gilardi, Antoni Tàpies, and Katharina Grosse. Ebony has most recently become a columnist for the website Yale ARTbooks, Yale University Press. He has also written a number of exclusive articles for the A.i.A. website as well as Artnet.com. Ebony also contributes to Lacanian Ink, a journal of psychoanalysis and art. He is the author of monographs on a number of artists, including Emily Mason [Braziller, 2006]; Botero: Abu Ghraib [Prestel, 2006]; Craigie Horsfield: Relation [Jeu de Paume, 2006]; and Carlo Maria Mariani [Edition Volker Huber, 2002]. Formerly a musician and songwriter, Ebony has had one of his 1983 compositions, "Gun Shaft City," recently recorded by Bryan Ferry of Roxy Music fame, which was released in 2014. Recent exhibition catalogues produced by SNAP Editions featuring Ebony's writing include Larry Poons: Momentum.

George King is a distinguished museum director, curator, and arts professional whose career has significantly shaped the landscape of museum programming and exhibition development. After attending Bennington College, King earned a BFA in painting from the Maryland Institute College of Art. He began his career at the Cooper-Hewitt Smithsonian Design Museum, where he ultimately served as Director of Programs. In 1985, King became the first professional director of the Katonah Museum of Art, where he originated transformative exhibitions that frequently traveled nationally. During his tenure at the KMA, King also oversaw the design of the museum's new building by Edward Larrabee Barnes. In 1998, King was recruited to lead the Georgia O'Keeffe Museum, where he grew the collection from 98 to over 3,000 works and established the first research center for American Modernism. He returned to New York ten years later to become the director of the American Federation of Arts.

Marina King is a video journalist and cinematographer with nearly a decade of experience in New York City. She currently works for The New York Times, specializing in bringing "The Ezra Klein Show" and other Opinion video podcasts to life through dynamic visual storytelling. Throughout her career, King has collaborated with major networks including HBO, Netflix, Hulu, and Apple TV+. Her notable camera work includes award-winning productions such as "How to With John Wilson" (HBO) and feature films including "The Price of Freedom," which premiered at the Tribeca Film Festival, and "Down With the King," winner of the Grand Prix at the Deauville Film Festival. Her career began at Flatbush Pictures, a documentary film company focused on human and social rights issues, before she established herself as a freelance cinematographer working across narrative features, documentaries, series, and television commercials. King graduated from American University in Washington, D.C., with a degree in film and communications arts with a focus on marketing.

Based in New York City, Tim Laun has collaborated with SNAP Editions on numerous projects since 2012, for museums and art institutions such as the Wellin Museum of Art at Hamilton College and the Hunter College Department of Art & Art History, as well as other notable clients such as the Heisman Trophy Trust. Together with designer Natalie Wedeking, Laun founded the company Wedeking | Laun, offering a wide range of design services, and a combined more than 30 years of experience, to clients internationally. Laun's most recent art exhibition catalogue designs include Dannielle Tegeder: Painting in the Extended Field [Wellin Museum of Art at Hamilton College, 2014] and Notations: The Cage Effect Today [Hunter College/Times Square Gallery, 2012].

Michael Motley has developed branding and identity, exhibition graphics, publications, catalogs, and books for museums, galleries and other cultural institutions including the Georgia O'Keeffe Museum, The McNay Museum of Art, The Santa Fe Museum of Art, The University of New Mexico Art Museum, The Museum of International Folk Art, The Center for Contemporary Arts of Santa Fe, Yares Art, and SITE Santa Fe. He collaborated with Richard Tuttle, Mary Hunt Kahlenberg, and Sarah S. King on a book for their exhibition of Indonesian Textiles and developed typography with Tom Joyce for his commission for the 9/11 Memorial in Manhattan. He has designed monographs on John Connell with David Chickey for Radius Books, Paul Pletka for The University of Oklahoma Press and William Coupon for Damiani Editore. Recent projects include An Essential Solitude for SNAP Editions; a series of four books on the Albuquerque Museum's collections and a large format monograph of panoramic photographs by Gus Foster for the Museum of New Mexico Press; and Voices of the Rainforest and Cool Running multimedia books with ethnomusicologist Steven Feld.

James McCarthy is a technologist and designer with a background in building systems, data platforms, and the visual articulation of ideas. He's worked across fintech, digital media, fashion, and many things in between. A longtime collaborator with SNAP Editions, he's been integral to its digital presence, brand identity, and all the invisible stuff in between.

Auden Mucher is an artist, writer, and bookmaker from California. After receiving her BA in both Graphic Design and Environmental Science, she went off to spend a year in Antarctica living and working at a science research base. Led there by her seemingly varied interests, Auden believes art and science actually have the same goal: to process the world around us. This desire to process has resulted in her writing and designing multiple independently-published art books, out of which her future in bookmaking was born. Her work mostly deals with the role of decorative art in the context of environmental decay, and she is particularly drawn to textile art, digital mediums, and the absurd.

Diane Armitage has been an associate editor for SNAP Editions since 2004. She has a BA in English from the University of Rhode Island and a BFA and an MFA in Art Studio from the University of New Mexico. She is an artist working in digital video; a freelance writer and editor for art publications; and an adjunct lecturer in Art History at the Santa Fe Community College where she established the Art History program in 1999. She has also taught for the University of New Mexico and the Santa Fe University of Art and Design. She lives and works in Santa Fe, New Mexico.

Stephanie Cash is a Lower East Side-based editor and writer. She was a staff editor at Art in America for 19 years, after which she served for five years as executive editor of Burnaway, an Atlanta-based digital magazine covering art in the South. Cash has extensive experience editing art books, catalogues, writing numerous grants, and leading writing workshops for artists and emerging art writers. Her writing has appeared in Art in America, Artnet News, Photograph, Burnaway, ArtsATL, and elsewhere.

Richard Vine is a former managing editor of Art in America and the author of several hundred critical articles and reviews, as well as such books as Odd Nerdrum: Painting, Drawing, and Sketches (2001), New China, New Art (2008), which traces the emergence of avant-garde art in post-Mao China, and the art-world murder mystery SoHo Sins (2016). Vine has taught at the New School, the School of the Art Institute of Chicago, New York University, and the University of Riyadh in Saudi Arabia. He has also lectured at museums and cultural institutions throughout the world, and curated exhibitions at the National Art Museum of China, the National Academy of Art in New Delhi, the John Jay College of Criminal Justice in New York, and Bienvenu Steinberg and J, New York.

Katie White has worked in the curatorial departments at the Guggenheim, the International Center for Photography, Museum of Modern Art and the Whitney Museum of American Art. She holds an MA in Art History from the Institute of Fine Arts at NYU, where she wrote her thesis on Depression Era photography under Linda Nochlin. She earned her BA in Art History and Journalism from NYU. She has contributed to The Art Newspaper, Il Sole 24 Ore and several graduate journals.