Andrea Geyer uses both fiction and documentary strategies in her image and text based works. She investigates historically evolved concepts such as national identity, gender and class in the context of the ongoing re-adjustment of cultural meanings and social memories in current politics. Recent works include “Criminal Case 40/61: Reverb,” a six-channel video investigating the way in which the historic trial of Adolf Eichmann in Jerusalem (1961) and the questions it raised about the relationship of truth and justice and the responsibility of an individual within a nation state and how those questions resonates within the current political climate. And “Spiral Lands,” a photographic and textual historiography of the ongoing dispossession of lands from Indigenous people by colonization, governmentality, capitalist development that constitute one of the longest struggle for social justice in North America. Her work has been shown at RedCat/Los Angeles; LACE/Los Angeles; Hessel Museum/Bard College; the Whitney Museum of American Art/New York; Apex Art/New York; Artist Space/New York; TATE Modern/London; Serpentine Gallery/London; Generali Foundation/Vienna; Secession/Vienna; Witte De White/Rotterdam; IASPIS/Stockholm; the Turin Biennale/Italy; Athens Biennale/Greece; and documenta12/Kassel. In 2008 she had solo shows at the Galerie Thomas Zander/Cologne and Galerie Hohenlohe/Vienna. In 2009/2010 a retrospective exhibition (with Sharon Hayes) traveled to the Goteborg Kunsthalle/Sweden and the St.Gallen Kunstmuseum/Switzerland. Andrea Geyer has published two artist’s books: Audrey Munson, The Queen of the Artists’ Studios (Art In General/New York) and Spiral Lands / Chapter 1 (Koenig Books/London).