Guillermo Gómez-Peña, born on September 23, 1955, in Mexico City, is a celebrated Mexican/Chicano performance artist, writer, activist, and educator who has contributed profoundly to contemporary art, literature, and cultural theory.

He moved to the United States in 1978, earning both a BA and MA at the California Institute of the Arts, and quickly established himself in the multicultural arts community with groundbreaking work in multiple media, including experimental radio, video, photography, installation art, and performance.

He has authored over twenty books featuring essays, poetry, performance scripts, and chronicles in English, Spanish, and Spanglish, such as "The New World Border," "Codex Espangliensis," and "Gómez-Peña Unplugged," all acclaimed for their exploration of border culture, hybridity, and radical activism.

His most impactful performances and projects have been presented in more than a thousand venues worldwide, with notable pieces including "Border Brujo," "Couple in The Cage" with Coco Fusco, "The Mexterminator Project," and the "Mapa/Corpo" series.

As the founding member of the Border Arts Workshop/Taller de Arte Fronterizo and the artistic director of the performance troupe La Pocha Nostra, he has consistently pushed the boundaries of collaborative performance across national, racial, generational, and gender divides. His work frequently blends experimental aesthetics, activist politics, and Spanglish humor, inviting audience participation and challenging traditional notions of identity, borders, and cultural confrontation.

Guillermo Gómez-Peña is a MacArthur Foundation Fellow—the first Chicano artist to receive this honor—and has also been awarded the Bessie, Guggenheim, American Book Award, and Eureka Fellowship, among others, recognizing his enduring influence in arts and cultural advocacy.

Beyond performance, he is a contributing editor to major journals, an active educator, and a keynote speaker for museums and cultural institutions, supporting borderless, inclusive spaces within public art settings. He is married to fellow poet and performer Balitronica Gómez and remains based in San Francisco, Mexico City, and the “road,” continually touring, publishing, and teaching new generations of artists and activists.

His ongoing projects fuse virtual and live elements, encompassing films, podcasts such as "The Mex Files," and performance rituals, sustaining his reputation as one of the most innovative and radical voices in contemporary art and transnational cultural practice.