Diana Cooper (born 1964) is an American visual artist, known for largely abstract, improvised hybrid constructions that combine drawing, painting, sculpture, installation and photography.

[4][5][6] Critics have described her earlier work—primarily made with craft supplies such as markers, pens, foamcore, pushpins, felt, pipe cleaners, tape and pompoms—as humble-looking yet labor-intensive,[7] provisional and precarious,[8] and "a high-wire act attempting to balance order and pandemonium.

[7][32][33][34] Critic David Cohen has distinguished her from the latter group, identifying a "divided sensibility" that maintains both a handmade, casually obsessive mode and a systematizing one committed to taxonomies of form and function.

[36][4][1][35] Reviews noted these labyrinthine designs for their graphic skill, sense of improvisation, and play of organic (cells), informational (maps, architectural plans) and technological (electrical circuitry, computer chips, bar codes, pixels) allusions.

[40][33][37][26] Los Angeles Times critic Christopher Knight situated these wall reliefs (e.g., My Eye Travels, 2005) between self-contained drawings and "environmental deluge," likening them to visualizations of the ways computer viruses might work: "Havoc occurs through precise channels of organization, manic energy merges with exacting control and data seem to wobble between ferocious and benign.

[41][42][43][44] Speedway (2000–3) was a freestanding, De Stijl-styled foamcore structure, consisting on one side of a cutaway that Nancy Princenthal described as "a Las Vegas marquee of pulsing concentric and parallel lines, punctuated by seedily alluring little niches,"[45] and on the other, a dollhouse-like grid of cubbyholes, suggesting a Mondrian/Donald Judd-influenced "mini-museum.

[25][31][1][46] Digital photography and themes involving the built environment play a greater role in Cooper's later work, which has employed fewer elements and sometimes taken on a frieze-like appearance (e.g., the illusionistic wall-piece, Undercover, 2010–3).

[47][23][20] Jerry Saltz described her 2013 show, "My Eye Travels," as "a florid blaze of color, pattern, abstraction, and images of bits of the world," composed almost entirely of photographs "assembled into fragmenting mandalas of contemporary energy.

[35] "Sightings" (2019) consisted of more autonomous works and closed compositions that referenced and framed distinct, bound systems of urban structure, electronics and technology in order to encourage new ways of seeing (e.g., Slide Rule or Family Safe).

[51][15] In 2023, MTA Arts and Design unveiled Cooper's commissioned permanent public mural, Double Take, an 8-by-96-foot, glass mosaic, ceramic, granite and aluminum work located on Roosevelt Island.