Ana María Caballero is an award-winning Colombian-American poet and multidisciplinary artist whose work explores embodiment, memory and the cultural ethics of emerging technologies, while reimagining poetry and the book for contemporary and digital worlds. Working across poetry, performance, moving image and generative systems, she develops digital poetics grounded in what she terms analog generativity: a practice that treats readership and the body as legitimate inputs into computational systems.
A leading figure in digital poetics, she’s the first living poet to sell a poem via Sotheby’s and a quintuple Lumen Prize finalist and winner. Her work has been exhibited internationally and is held in the collections of the Museo Reina Sofía, MACBA Barcelona, Fundación March, the Francisco Carolinum Museum and HEK Basel. The author of 8 books and a graduate of Harvard, she cofounded digital poetry gallery theVERSEverse.
Entre domingo y domingo
Entre domingo y domingo is an installation that shares its title with Ana María Caballero’s first poetry collection, published a decade ago after receiving Colombia’s José Manuel Arango National Poetry Prize and reprinted by Valparaíso Ediciones in 2023.
The installation employs a minimal material vocabulary: everyday clothing, red thread, poems printed on fabric, and a great deal of silence. In the book, every alternating poem is a “Sunday.” In the gallery’s Project Room, that alternation becomes visible and legible in space.
The Sunday-poems are printed on T-shirts; the non-Sunday poems on collared shirts. The contrast—sweat versus starch—signals the two invented rhythms that shape our weeks: the forward-facing that pulses out and the private that sustains.
Entre domingo y domingo, Installation views, Max Estrella Gallery, Madrid 2026.
In Record Time
In Record Time, a collection of hand-annotated and digitized poems commissioned for Art Basel, is a performance of analog generativity—the term Caballero uses to describe how readers and writers construct each other in an endlessly procreative process.
Every reading is a unique universe.
At the core of the collection is Training Data, a poem Caballero wrote to commemorate the launch of Zero 10, the fair’s new digital sector, situating a historic moment within her own story.
Speech Patterns
Speech Patterns marks the next chapter in Caballero’s investigation of voice, form and translation, evolving her explorations of performance-driven materiality. Radical Repair, the very first work from this new series, uses digital and artisanal tooling to visualize a performative presentation given by the artist during Berlin Art Week.
Pace
Pace is a multichannel animated artwork that translates poetry, Latin American music and personal narrative into generative moving-image form. Through cinematic AI and a custom motion-translation system, the work metabolizes embodied movement and stillness into visual inscription, creating a poetic memory-scape shaped by grief, ritual and joy.
In dialogue with Pipilotti Rist’s Ever Is Over All, Pace reimagines animation and artificial intelligence as infrastructures for radical repair.
Ropa sucia (The Wash)
Ropa sucia (The Wash) is a limited edition artist book by Ana María Caballero. Each version of Ropa sucia contains a unique set of twelve poems and materials with which to hang them as well as a unique generative print.
Collectors may arrange the poems as they wish, representing analog generativity: Caballero’s idea that every reading is its own universe. In assembling the book’s pages, collectors become co-creators.
Echo Graph
Echo Graph, a solo exhibition by Ana María Caballero at Office Impart in Berlin, presents a single poem in multiple ways, exploring how the medium through which verse is experienced affects the meaning it conveys.
Echo Graph brings together Caballero’s acclaimed performative, sculptural, conceptual and written work–crossing over from digital into analog realms with such ease that the boundary between these becomes blurred to the point of irrelevance. The pieces in this exhibition challenge notions of materiality and immersion, asking us to bear witness to the ways language takes hold within and without our bodies.
Literal Litoral
Combining performance, spoken-word poetry, choreography, photography, and blockchain provenance, Caballero’s Literal Litoral series transcends the page, pushing the boundary of how poetry can be exhibited, experienced and transacted in the digital age.
These performative works honor Caballero’s strong spoken-word history and poetry’s tradition of orality. In these multifaceted renditions of self, she speaks her poem via movement, exploring how body language ties into spoken language.
Caballero’s work probes how the inescapable rhythms of our bodies govern our emotional hungers.
Book Sculptures
Caballero’s Book Sculptures are an eight-part series that questions how society values poetry. This series proposes the book as a sculptural object, and will see Caballero print eight different books, each as an edition of one, with a unique ISBN and the anatomy and structure of a traditional book.
Each edition includes an MP4 of a single page of the book endlessly turning while Caballero reads the poem as well as a Bitcoin inscription of its verse, documenting the ways our record-keeping has evolved: from page to pixel to decentralized ledger.
Being Borges
Being Borges is a poetic and (post)photographic recasting of Jorge Luis Borges and Margarita Guerrero’s Book of Imaginary Beings that interrogates the linguistic implications of generative AI.
This twelve-part series begs the question: What’s at stake when language becomes literal via the visual? Being Borges was a finalist and a recipient of the Lumen Prize.
Paperwork
The making of Paperwork, Video presented at the V&A Museum during their Digital Design Week, 2024
Fifty Ways of Looking at a Poem
In this collaborative artwork, Ana María Caballero invited fifty different people to read and annotate the same poem, performing their experience of its verse via hand-written marginalia.
Fifty Ways of Looking at a Poem celebrates the ways in which writers and readers construct each other. Readers give literature life within their minds, honoring words when they make them their own by leaving a mark.
The combined, iterative interventions in this series represent the collective evolution of readership.
Language is universal—yet personal—and every reading pulls and pushes it forth.
artifacts
Ana María Caballero and Alex Estorick launched artifacts, a long-form generative AI project, in 2023. This collection imagines a new token economy where both image and coinage can challenge tired histories. In 2024, they created a site-specific iteration of the project for Oxford’s Ashmolean Museum, which became the museum’s first digital art acquisition. This project was a Finalist for the Lumen Prize and named one of artnet’s most impactful digital projects of 2023.
collaborations
books
Material
Tra domenica e domenica
The Wish
Mammal
Tryst
Entre domingo y domingo
