Iñigo Manglano-Ovalle (born 1961, Madrid, Spain) is an American conceptual artist known for multidisciplinary, socially oriented sculpture, video and installations and urban community-based projects of the 1990s.

[4][5][6] New York Times critic Holland Cotter wrote that Manglano-Ovalle was adept in "distilling complex ideas into inviting visual metaphors," while Jody Zellen described his work as "infused with a formal elegance and sociopolitical content.

[1][16] Manglano-Ovalle’s diverse work is connected by its interest in probing the underlying forces, systems and histories that shape and describe contemporary identity, ethics, aesthetics, climate, and politics.

[36][37][34][30] The project developed into a sprawling dialogue on residential social space, presented at public screenings, a 71-monitor, 46-video block party (involving the collaboration of four rival gangs), and video installations created in conjunction with the MCA Chicago.

[29][32][23] Critics described his minimalist installation, Bloom (1995–6), as a subversively seductive yet repulsive meditation on violence; it consisted of Plexiglas cases on spare metal tables containing luminous blocks of ballistic gelatin replicating human flesh, into which hollow-point bullets were fired.

[6][27][41] It featured forty-eight life-size depictions of human DNA samples, presented in triptychs resembling vibrant, color-field abstraction whose visual similarity evinced common lineage despite representing individuality.

1 (2003) used atmospheric data to create a gargantuan, amorphous titanium-alloy and fiberglass sculpture capturing the fleeting form of a thundercloud;[49][50][25] its frozen quality and resemblance to a nuclear blast cloud evoke liminal, transformative moments between benign and perilous, progress and destruction.

[27][4][41] Phantom Truck (Documenta 12, 2007) was a physical realization of the biological weapons lab described (but never validated) in Colin Powell's 2003 United Nations speech leading up to the U.S. invasion of Iraq.

[2][50][13] Displayed in a darkened gallery, the barely visible form was described by curator Elizabeth Armstrong as evoking the shadowy political camouflage that inspired it—"a chilling encounter with a fabrication of a falsehood.