Judy Malloy is a poet who works at the conjunction of hypernarrative, magic realism, and information art. Her work has been exhibited and published internationally including the 2008 Electronic Literature Conference, San Francisco Art Institute, Tisch School of the Arts, NYU, Sao Paulo Biennial, the Los Angeles Institute for Contemporary Art, Boston Cyberarts Festival, The Walker Art Center, Visual Studies Workshop, Environmental Film Festival Ithaca, NY, Eastgate Systems, E.P. Dutton, Tanam Press, Seal Press, MIT Press, The Iowa Review Web, and Blue Moon Review.

A pioneer on the Internet and in electronic literature, in 1986 she wrote and programmed the seminal hyperfiction Uncle Roger, and in the ensuing years she created a series of innovative hypernarratives works published by Eastgate and on the Internet, including its name was Penelope (Eastgate Systems) and l0ve0ne, the first selection in the Eastgate Web Workshop. In 1993, she was invited to Xerox PARC where she worked in Computer Science Laboratory as the first artist in their artist-in-residence program. In 1994, she created one of the first arts websites, Making Art Online. (currently hosted on the website of the Walker Art Center).

As an arts journalist and Internet information developer, she has worked most notably as Editor of The New York Foundation for the Arts sponsored NYFA Current, (formerly Arts Wire Current) an Internet-based National journal on social, economic, philosophical, and political issues in the arts and culture.

She is the editor of Women, Art & Technology, (MIT Press. 2003) and she recently produced an Authoring Software Blog, in conjunction with the Electronic Literature Conference.

Malloy's early work included information art installations, such as Technical Information, Site, 1981; audio-visual performances, such as Super Lucy, Target Video, 1982;
and a series of card catalogs, 1976-1981 and electromechanical books. (begun in 1982) Although they can be read sequentially, these were meant to be non-sequential works that combine words and pictures so that neither are the words descriptions of the pictures nor are the pictures illustrations of the words.

Her recent work includes Concerto for Narrative Data, (in press Iowa Review Web) The Wedding Celebration of Gunter and Gwen, (exhibited in Visionary Landscapes, North Bank Artists Gallery, as part of the 2008 Electronic Literature Conference) and Revelations of Secret Surveillance, a complex work of hypernarrative, magic realism, and information art that employs metaphor, history, narrative, and annotated references to disclose the potential for harassment, control, and covert censorship inherent in covert surveillance and contemporary techno-surveillance.

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