Garzón, Sara. “Distance That Connects: Forestine Knowledges and Amazonian Aesthetics—An Interview with Sara Garzón.” Revista Terremoto, November 27, 2025.

Oroshi, Sabina. “In Conversation with Sara Garzón on Verde-Distância.” Whitehot Magazine of Contemporary Art, September 22, 2025.

Garzón, Sara. “Sandra Monterroso: Cultural Subversions.” In Estéticas del sanar. Mexico City: Temblores Publicaciones, 2025.

———. “Indigenous Technologies: Towards a Socio-Technological Approach to Worldmaking.” In Incomputable Earth: Digital Technologies and the Anthropocene, edited by Antonia Majaca. London: Bloomsbury, 2025.

———. “A Return to Earth.” In Interplanetary Simulations: Walking the Desert to Traverse the Cosmos. Mexico City: Terremoto, 2025.

———. “Fabricating Amazonia.” In We Live Like Trees Inside the Footsteps of Our Ancestors, edited by Mariana Cinha and Marianna Tsionki. Berlin: K-Verlag, 2025.

———. “The Rise of the Coyote: Towards a Sociotechnological Approach to Worldmaking.” In Incomputable Earth: Technology and the Anthropocene Hypothesis, edited by Antonia Majaca. Vienna: Bloomsbury, 2025.

———. “Indigenous Technologies and the Cultivation of Life.” In Āmantēcayōtl: And When It Disappears, It Is Said, the Moon Has Died, 12–23. New York: Canal Projects, 2024.

———. “Toxicity and Resistance in Candice Lin’s Lithium Sex Demons in the Factory.” In Candice Lin: Lithium Sex Demons in the Factory. New York: Canal Projects, 2023.

———. “Repairing, Re-situating, and Rethinking What It Means to Be in the World.” Interview by Carolina Castro. La Escuela, 2023.

———. “Field Notes: Sara Garzón on Black Quantum Futurism and Más Arte Más Acción at documenta 15.” Art & Education, 2022.

———. “Oscar Santillán’s How Rivers Think or How We Know What We Know.” RAIZ. Quito: Centro de Arte Contemporáneo, 2022.

———. “Tenet: New York City’s Sculptural Aberrations.” New York: CUE Art Foundation, 2022.

———. “Rewilding Art Institutions in the Age of Mass Tourism.” Arts of the Working Class (Berlin), May 11, 2022.

———. “Cur(at)ing for a Broken World: The Case for Collective Rewilding.” Protocinema, Istanbul, New York, and Bangkok, 2021, 6–9.

———, ed. Worldmaking Practices: A Take on the Future. Introduction titled “Notes for Horizon-tality: Towards the Possibility of Becoming Together as an Assemblage.” Colección Patricia Phelps de Cisneros, 2020.

———. “Manuel Amaru Cholango: Decolonizing Technologies and the Construction of Indigenous Futures.” Arts 8 (2019): 163–83. Awarded Best Essay in Visual Culture Studies, Latin American Studies Association, 2020.