Born in Maiquetía, Venezuela, in 1920, Luchita Hurtado dedicated over eighty years of her extensive oeuvre to the investigation of universality and transcendence. Developing her artistic vocabulary through a coalescence of abstraction, mysticism, corporality and landscape, the breadth of her experimentation with unconventional techniques, materials and styles speak to the multicultural and experiential contexts that shaped her life and career. Hurtado emigrated to the United States in 1928, settling in New York where she attended classes at the Art Students League. She relocated to Mexico City in the late 1940s and, in the following decade, moved to San Francisco Bay, ultimately settling in Santa Monica, California and making frequent visits to her second home in Taos, New Mexico.

Although she associated with a vast network of internationally renowned artists and intellectuals, including members of the Dynaton, the Mexican muralists, and the Surrealists, Hurtado’s practice had always remained an independent pursuit. Her body of work is cohered through an examination of self-affirmation, introduced in her early period from the 1940s to the 1960s in an output defined by surrealist figuration, biomorphism and geometric abstraction, executed in brightly hued palettes with striking expressive range. Hurtado’s work continued to evolve throughout the 1960s and 1970s, demonstrating a fluid shift towards representative figuration that led to a production of contemplative self-portraits known as her ‘I Am’ paintings. Asserting her presence through a personal perspective of the body — rendered from above at skewed angles — Hurtado coalesced the viewer’s gaze with hers, creating a depth of field activated by the unexpected position of the floor as a backdrop, juxtaposing soft corporeal lines against the hard edge geometric patterns of the environments beneath her. This series was followed by a group of surrealist ‘Body Landscapes’ wherein the human figure assumes the form of mountains and desert sand dunes, and her late 1970s, ‘Sky Skin’ series, where feathers weightlessly float in bright blue skies. The works from this period were informed by Hurtado’s newly reinforced feminist ideals and involvement with the Los Angeles Council of Women Artists. Many members of this group would later form the Woman’s Building in Los Angeles, where Hurtado’s first solo exhibition was hosted in 1974.

In recent years, Hurtado continued to explore themes of language and nature with her work, focusing on the planet, natural elements, and the environment, in recognition of the urgency of the ecological crisis. These works function as symbolic proxies and intimate meditations on the Earth as mystic progenitor, underscoring the interconnectedness between corporeality and the natural world. Today, her environmental advocacy continues to inform and suffuse the ever-expansive visual language of her practice.

In 2019, Hurtado was listed in TIME 100’s most influential people and received the Americans for the Arts Carolyn Clark Powers Lifetime Achievement Award. Hurtado’s first solo museum exhibition, ‘I Live I Die I Will Be Reborn’, opened at the Serpentine Sackler Gallery in London in 2019 when the artist was 98 years old. The exhibition then travelled to the Los Angeles County Museum of Art in February 2020


Solo Exhibitions

Luchita Hurtado,
Hauser & Wirth, Southampton, New York
Luchita Hurtado,
Hauser & Wirth, London, England
I Live Here,
University of California, Berkeley Art Museum & Pacific Film Archive Art Wall, Berkeley, CA
Together Forever,
Hauser & Wirth, New York, 22nd Street
Just Down the Street,
Hauser & Wirth, Zurich, Switzerland
I Live I Die I Will Be Reborn (Travelling Exhibition),
Los Angeles County Museum of Art, Los Angeles, CA
Dark Years,
Hauser & Wirth, New York, 69th Street
I Live I Die I Will Be Reborn (Travelling Exhibition),
Serpentine Sackler Gallery, London, England
Figures and Icons,
Annenberg Community Beach House, Santa Monica, CA
Luchita Hurtado: Selected Works 1942-1950,
Park View, Los Angeles, CA
Luchita Hurtado, Grandview One,
The Woman’s Building, Los Angeles, CA

Group Exhibitions

Arcimboldo Face to Face,
Centre Pompidou-Metz, Metz, France
Valley of Gold: Southern California and the Phantasmagoric,
Hauser & Wirth, Kasmin Gallery
LY, Los Angeles, CA
Material Actions,
Hauser & Wirth St. Moritz, St. Moritz, Switzerland
Made in L.A. 2018,
Hammer Museum, Los Angeles, CA
Summer Nocturne: Works on Paper from the 1970s,
Santa Barbara Museum of Art, Santa Barbara, CA
Painting: Now and Forever, Part III,
Matthew Marks Gallery, New York, NY
The Gallery @ Michael’s
, Santa Monica, CA
Gallery Share,
Hannah Hoffman Gallery, Los Angeles, CA
Night Club, Chicago, IL
Women Artists of Southern California Then and Now,
Track 16, Santa Monica, CA
Santa Monica Originals,
Arena 1, Santa Monica, CA
The Mystical in Art: Chicano/Latino Painting,
Carnegie Art Museum, Oxnard, CA
West by Southwest,
Transamerica Galleries, Los Angeles, CA
Invisible/Visible ,
Long Beach Museum of Art, Long Beach, CA
The Collection of Dr. and Mrs. Paul Wescher,
Art Center, La Jolla, CA


Luchita Hurtado and Chris Wiley in Conversation,
Equitable Vitrines, Los Angeles, CA
Patterns Found in the World: Luchita Hurtado and Andrianna Campbell,
Hammer Museum, Los Angeles, CA
Luchita Hurtado in Conversation with Hans Ulrich Obrist,
Los Angeles Municipal Art Gallery, Los Angeles, CA
Farewell to Surrealism: Luchita Hurtado in Conversation with Annette Leddy,
Les Figues Press, Venice, CA



Marta, Karen (ed.), Obrist, Hans Ulrich, Luchita Hurtado, (Zurich: Hauser & Wirth Publishers)
Constable, Joseph, Lewin, Rebecca (eds.), Luchita Hurtado. I Live I Die I Will Be Reborn, (Cologne: Walther König)
Lehrer-Graiwer, Sarah, Luchita Hurtado: Dark Years, (New York: Hauser & Wirth Publishers)


Hurtado, Luchita, Reminiscences: Luchita Hurtado, ( New York: Heresies vol. 1, no. 4, p. 83)


Obrist, Hans Ulrich, Stasinopoulos, ostas (eds.), 140 Artists’ Ideas for Planet Earth, (London, UK, Serpentine Galleries: Penguin Random House)
Obrist, Hans Ulrich (ed.), It’s Urgent! A Luma project curated by Hans Ulrich Obrist, (Cologne: Walther König)
Kamien-Kazhdan, Adina (ed.) , Bodyscapes (exh. cat.), (Jerusalem: The Israel Museum)
Ellegood, Anne, Christovale, Erin, Made In L.A. 2018, Hammer Museum, Los Angeles (exh. cat.), (Munich/New York: DelMonico Books/Prestel)
Hopkins, David (ed.), A Companion to Dada and Surrealism, (Hoboken: Wiley-Blackwell)
Albright, Thomas, Art in the San Francisco Bay Area, 1945-1980, An Illustrated History, (Berkeley: University of California Press)
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