Caroline Jones studies modern and contemporary art, with a particular focus on its technological modes of production, distribution, and reception. Trained in visual studies and art history at Harvard, she did graduate work at the Institute of Fine Arts in New York before completing her PhD at Stanford University in 1992. Previous to completing her art history degree, she worked in museum administration and exhibition curation, holding positions at The Museum of Modern Art in New York (1977-83) and the Harvard University Art Museums (1983-85), and completed two documentary films. In addition to these institutions, her exhibitions and/or films have been shown at the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Hara Museum Tokyo, and the Boston University Art Gallery, among other venues. She is the recipient of fellowships from the National Endowment for the Humanities and the John Simon Guggenheim Foundation (among others), and has been honored by fellowships at the Wissenschaftskolleg zu Berlin and the Max Planck Institüt (2001-02), the Institute for Advanced Studies in Princeton (1994-95), and the Stanford Humanities Center (1986-87). Her books include Machine in the Studio: Constructing the Postwar American Artist, (1996/98, winner of the Charles Eldredge Prize from the Smithsonian Institution); Bay Area Figurative Art, 1950-1965, (1990, awarded the silver medal from San Francisco's Commonwealth Club); and Modern Art at Harvard (1985). She co-edited Picturing Science, Producing Art (1998), and has published on subjects ranging from Francis Picabia to John Cage to new media art in journals such as Critical Inquiry, Res, Science in Context, caareviews online, and Cahiers du Musée national d'art moderne. Currently finishing a manuscript on the mid-20th century art writer Clement Greenberg (forthcoming in 2004), Jones's ongoing research interests include globalism and new media art.