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From 2013 to 2015, she was founding director of the National University of General San Martín's Experimental Art Center. Since 2014 she has been a member of the Artistic Scientific Committee at the Latin American Art Museum of Buenos Aires (MALBA).

She has received the Konex Award on three occasions – once in Literature (2004) and twice in Humanities (2006, 2016).

In her publications, the concept of "simultaneous avant-gardes" – as opposed to "peripheral" or "decentralized" avant-gardes – is central, referring to such artistic movements since 1945 in different metropolises of the world. These include the "emancipation of bodies", referring to the process produced by feminists artists from the 1960s to the 1980s, the "mobile monument-memorial", conceptualizing Picasso's Guernica, and "manifest images", analyzing the power of images in the modern art of Latin America.

She was the founding director of the Center for Documentation, Research, and Publications (CeDIP) at the Centro Cultural Recoleta of Buenos Aires (2006–2007) and a member of the advisory committee that directed the National Museum of Fine Arts (2006–2007).

In 2006, Giunta received a Harrington Fellowship from the University of Texas at Austin, where she was Chair in Latin American Art History and Criticism and founding director of the Center for Latin American Visual Studies (CLAVIS) from 2009 to 2013. In this position she directed three conferences for emerging researchers in art studies in Latin America.

She has been a visiting professor at Duke University (1998 and 2000), the University of Monterrey (2000–2001), the School for Advanced Studies in the Social Sciences (2014), the National Autonomous University of Mexico (2016), and was Tinker Visiting Professor at Columbia University (2017). She has given lectures at museums such as the National Museum of Fine Arts, MALBA, the New York Museum of Modern Art, the Bahnhof Museum in Berlin, the Haus der Kunst in Munich, and the Museo Reina Sofía in Madrid. She has been a guest lecturer at numerous institutions including Harvard University, UC Berkeley, the Art Institute of Chicago, Princeton University, and New York University.

Giunta's research work focuses on Argentine, Latin American, and international art from the postwar period to the present. The axis of her contributions lies in the power of images, their political uses, as well as in the debates they provoke in different contexts. In this sense, she has analyzed the internationalization processes of Argentine and Latin American art in the context of the Cold War in its Latin American theater, characterized by the Cuban Revolution, the Cuban Missile Crisis, and the Alliance for Progress. She has also examined the controversies that the works of artist León Ferrari produced within the Argentine church, and made a particular study of Guernica by Pablo Picasso, and the power that the work has built in its tours of different museums and galleries of the world. Her research also deals with the visual strategies of images in relation to human rights and dictatorships, particularly in Argentina. She has developed research on gender studies since the early 1990s, and has included a feminist perspective since the 2010 exhibit Radical Women. Latin American Art, 1960-1985 (Hammer Museum and Brooklyn Museum, 2017, Pinacoteca do Estado de São Paulo, 2018).

Andrea Graciela Giunta (born 5 May 1960) is an Argentine art historian, professor, researcher, and curator.

Giunta has curated national and international exhibitions, including Radical Women. Latin American Art, 1960-1985 (co-curated with Cecilia Fajardo-Hill [es] ), Verboamérica (co-curated with Agustín Pérez Rubio), Extranjeros en la cultura y en la tecnología (co-curated with Néstor García Canclini), León Ferrari. Obras 1976–2008 (co-curated with Liliana Piñeiro), León Ferrari Retrospectiva, 1954–2004, and [en tránsito] señales presentes (co-curated with Paloma Porrás).