Constanza is an art historian based in New York City. Her work centers on the histories and theories of technology, new media, and art. Her dissertation titled, Embodied Digital Dissent: Coopting and Transforming Technologies in Art, 1990-present, explores the history of artists and artists-activists who, from the 1990s to the present are working across different mediums in Contemporary and New Media Art and challenge the technocapitalist power that exploits, extracts, and profits from the datafication of bodies in different ways. Artists are not passive responders to advancements in technoscience but are at the forefront of critiquing power structures therein. Artists resist the technoscientific and technocapitalist forms of oppression through theatrical performances, hacking techniques, through obfuscation, but they also transform technologies to serve different communities. Through the intersection of art, a history of science and technology, and philosophical inquiry, as well as through the lens of race, gender, and sexuality, she examines how artists rematerialize the body through embodied forms of artmaking that challenge the datafication of bodies, disembodiment, and the mechanization of bodies

Constanza has presented papers internationally on the topics of art, new media, and technology. She has published in Momus, and Afterimage, among others, and is currently working on her book project based on her dissertation. She received her Bachelors in Fine Arts and Philosophy at the University of Waterloo in Canada, her Masters in Art History at the University of Guelph in Canada, and her Ph.D. from Cornell University in New York.