Pedro Veléz (b. Puerto Rico, 1971) obtained his M.F.A. at the School of the Art Institute of Chicago, and his B.A. in Communications at the Universidad del Sagrado Corazón in Puerto Rico. His work adopts a multi-disciplinary approach, incorporating his practice as an art critic in paintings, and large scale wall collages and sculptures.

Recent exhibitions include the Whitney Biennial 2014 in New York; #DrunkDictators, an “On The Wall” installation at Monique Meloche Gallery, Chicago; Contemporary Passions: American, European, and Latin American Art from the Serapión and Belk Collection, Museo de Arte de Ponce, PR (2012); Eraser, curated by Rachel Furnari, at Magnan Metz Gallery in NYC (2011); The Day of the Corrupt at Western Exhibitions, Chicago (2009); Epilepsy and Pegatina and Adult Porn, Plush Gallery in Dallas (2007); Godfuck at Galeria Comercial, San Juan (2006). His work has also been included in group exhibitions at the Lower Manhattan Cultural Council in NYC, Locust Projects in Miami, The Soap Factory in Minneapolis, and El Museo del Barrio.

Special projects for art fairs include: Hell in LAMB UC for NADA Art Fair (2005) and Art LA (2007). And has curated special exhibitions for fairs like Circa 2008 in San Juan, Photo Miami 2006, and the Stray Show 2004 in Chicago.

His work as an artist and writer has been discussed in the New York Times, Frieze, Artlies and The Miami Herald among many other publications.

For 10 years Pedro Vélez maintained a regular column about the art scenes in San Juan and Chicago for Artnet Magazine and his writing has been published in Newcity, New Art Examiner and Arte al Día. He was also the controversial editor of the blog El Box Score in San Juan and the founder of the FGA, a curatorial collective based in Chicago from 1999-2004.

Pedro Vélez works in Chicago and Puerto Rico.