Coco Fusco (born Juliana Emilia Fusco Miyares; June 18, 1960) is a Cuban-American interdisciplinary artist, writer, and curator whose work has been widely exhibited and published internationally. Fusco's work explores gender, identity, race, and power through performance, video, interactive installations, and critical writing.

Fusco was born in 1960 in New York City. Her mother was a Cuban exile who had fled the Cuban revolution that year.

Fusco received a B.A in Semiotics from Brown University in 1982, an M.A. in Modern Thought and Literature from Stanford University in 1985 and a Ph.D. in Art and Visual Culture from Middlesex University in 2007.

After finishing graduate school in 1985, Fusco met a group of Cuban artists, including José Bedia, who were visiting the US. She began traveling to Cuba and participating in the visual arts scene there, until in the mid-1990s she withdrew as a result of post-Cold War political and cultural changes in the country.

Fusco has presented performances and videos in arts festivals worldwide, including the 56th Venice Biennale, three Whitney Biennials (2021, 2008, 1993), the Next Wave Festival at BAM, and Performa05. She is the recipient of the 2016 Greenfield Prize in Visual Art, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2012 US Artists Fellowship, and a 2003 Herb Alpert Award in the Arts, as well as grants from the Rockefeller Foundation, the NEA and NYFA.

Much of Fusco's interdisciplinary art practice over the last several decades has been concerned with the themes of colonialism, power, race, gender, and history. Her exploration of these themes has culminated in staged performances that concern the embodied experiences of these phenomena, in an effort to destabilize their meanings. She locates her own body not only as the site of their merging but also as their immediate product. She presents and communicates this through her actual performances themselves. In them, she creates and takes on multiple identities to destabilize those identities that have been historically imposed on bodies along colonial, racial, and gendered lines. Fusco also engages with legacies of Cuban exile in her work, as in some of her earlier performances where she stages Catholic rituals and experiences of dislocation.

In 1992 Fusco created the influential performance piece Two Undiscovered Amerindians Visit the West in collaboration with Guillermo Gómez-Peña. It was first presented at the Plaza Colón in Madrid and Covent Garden in London, then toured to the Australian Museum in Sydney and the Museum of Natural History in New York City. The performance was filmed as part of the documentary The Couple in the Cage, directed by Paula Heredia. During performances of Two Undiscovered Amerindians..., Fusco and Gómez-Peña put themselves on public display in a cage, in a satirical reference to the historical practice of exhibiting human beings as entertainment. They claimed to be natives of an undiscovered island in the Gulf of Mexico, and performed tasks and rituals that were explained by pseudoscientific informational materials posted as part of the performance piece. Audience members were invited to interact with them and could pay to take a photo or see them dance. The work was a critique of colonialism, specifically of the role played by the scientific institutions in which it was performed, and a response to the global quincentenary celebrations of Christopher Columbus's arrival in the Americas.

"My dear ones, I am writing this letter to tell you that I am alive. For many years I feared that if I told the truth you would suffer at the hands of those who buried another woman in my name. I can no longer stand not being able to tell you that I exist. Not a day has passed without my dreaming of you. Fortunately I can say that I recovered from the ordeal that resulted in my departure. I will send more news soon. With love, C." This letter is adapted from another of Fusco's works, a one act play entitled The Incredible Disappearing Woman (2000).