• Monday: 10am-5pm
  • Tuesday-Wednesday: Closed
  • Thursday: 10am-5pm
  • Friday: 10am-7pm
  • Saturday: 10am-5pm
  • Sunday: 10am-5pm

1606 Paseo de Peralta
Santa Fe, NM 87501


Mona Hatoum


Mona Hatoum will be presenting a collection of 12 – 14 of her newest sculptural works, including several large-scale pieces, many of which were recently exhibited in a one-person exhibition titled The Entire World as a Foreign Land at the Tate Gallery in London, England.

Mona Hatoum studied at Beirut University College from 1970 to 1972.  She attended art school in London, England graduating first from The Byam Shaw School of Art in 1979, then The Slade School of Art in 1981.

Ms. Hatoum works in diverse methods and mediums, encompassing installation, video, sculpture, and performance art.  Throughout her artistic career, she has addressed themes relating to political conflicts, the physical body, and feminist issues with a formal language and minimalist aesthetic.  A Palestinian born in Lebanon, Hatoum went to London before the 1982 Israeli invasion, and was unable to return to Beirut.  Many of her artistic explorations are drawn from this experience of exile and cultural displacement.

Since the mid-90s, Mona Hatoum has emerged as one of the most significant figures in the International art world.  She has taken part in numerous group and one-person exhibitions around the world.  Ms. Hatoum was short-listed for The Turner Prize in London and participated in the Venice Bienniale and the Istanbul Biennale in 1995.  In 1998, she participated in the Cairo Biennale, Cairo, Egypt and the XXIV Bienal de Sao Paulo, Brazil.  In 1999, she took part in SITE Santa Fe’s Third International Biennial: Looking for a Place in which she exhibited the memorable work Map, 1998.

Artist Bios

Mona Hatoum

Mona Hatoum’s poetic and political work incorporates installations, sculpture, video, photography and works on paper. Hatoum started her career in the 1980s making visceral video and performance work that focused intensely on the body. Since the early 1990s, however, she has increasingly created large-scale installations that aim to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination. In her sculptures, Hatoum transforms familiar, everyday items such as chairs, cots and kitchen utensils into works that seem foreign, dangerous or even threatening. In installations such as VIEW ARTIST