Using robotics, real-time computer graphics, film projections, positional sound, internet links, cell phone interfaces, video and ultrasonic sensors, LED screens and other devices, his installations seek to interrupt the increasingly homogenized urban condition by providing critical platforms for participation.

[7][8] He has also shown at Biennials in Cuenca, Havana, Istanbul, Kochi, Liverpool, Melbourne NGV, Moscow, New Orleans, New York ICP, Seoul, Seville, Shanghai, Singapore, Sydney, and Wuzhen.

[7] His public art has been commissioned for the Millennium Celebrations in Mexico City (1999), the Expansion of the European Union in Dublin (2004), the Student Massacre Memorial in Tlatelolco (2008), the Vancouver Olympics (2010), the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015), and the activation of the Raurica Roman Theatre in Basel (2018).

Collections holding his work include MoMA and Guggenheim in New York, TATE in London, MAC and MBAM in Montreal, Jumex, and MUAC in Mexico City, DAROS in Zurich, MONA in Hobart, 21C Museum in Kanazawa, Borusan Contemporary in Istanbul, CIFO in Miami, MAG in Manchester, SFMOMA in San Francisco, ZKM in Karlsruhe, SAM in Singapore and many others.

[14] Major recent solo exhibitions include “Listening Forest,” which featured his largest collection to date of outdoor works, installed over 120 acres of land at Crystal Bridges Museum of American Art in Bentonville, Arkansas,[15] “Common Measures,” his first exhibition at PACE Gallery, New York,[16] and “Translation Island,” a 2-km parcours which included ten public artworks, in Lulu Island, Abu Dhabi.

Ten monographs have been published featuring essays by writers such as Cuauhtémoc Medina, Scott McQuire, John Hanhardt, Rodrigo Alonso, Beryl Graham, Cecilia Fajardo-Hill, Manuel De Landa, Victor Stoichita, Barbara London, Geert Lovink, Brian Massumi.

Often characterized by particular interactions between the work and the viewer, Lozano-Hemmer’s art explores themes such as forced cohabitations, power imbalances, and contemporary techniques of surveillance and control.

It includes essays that explore the poetic and political dimensions of the artist’s work, along with in-depth examinations of four major pieces—Zoom Pavilion, Vicious Circular Breathing, Voz Alta, and Pulse Room.

An essential guide to a deeper understanding of the themes that connect these technically sophisticated and emotionally resonant works, this book draws on the idea of an “unstable presence” to communicate the humanity and the anxiety that lie at the center of Lozano-Hemmer’s art.

It consists of a glass room with double sliding doors, two emergency exits, carbon dioxide and oxygen sensors, a set of motorized bellows, an electromagnetic valve system, and 61 brown paper bags hanging from respiration tubes.

In the piece, visitors’ breath is kept circulating and made tangible by automatically inflating and deflating the brown paper bags around 10,000 times a day, the typical respiratory frequency for an adult at rest.

The piece includes warnings for asphyxiation, contagion, and panic, producing a faint mechanical sound, a quiet whir from the air flow, and a louder crackle from the crumpling bags.

The project brought together tens of thousands of people, reuniting families on both sides of the border, creating new connections, performing poetry recitals and serenades, observing mournful vigils, and staging the vibrancy of the diverse culture and activism in the region.

"[26][27] A metal tree sculpture, covered in living vine and ivy, features hundreds of hanging loudspeakers which detect the presence of a visitor underneath and, in response, play quiet voice recordings in one of 400 different languages.

[29] Collaboration with Brian Massumi and Isabella Rossellini Levels of Nothingness is an installation-performance commissioned for the 50th Anniversary of the Guggenheim Museum, inspired by Kandinsky’s opera, “The Yellow Sound” (1912).

In “Levels of Nothingness”, the human voice is analyzed by computers, automatically controlling a full rig of Rock-and-Roll concert lighting and creating an interactive colour show.

Taking place amid Lozano-Hemmer’s first solo exhibition at PACE Gallery New York, this one-off performance centers on the immersive, biometric artwork Pulse Topology.

Using technology that responded to visitors’ voices, heartbeats, and body heat, “Listening Forest” highlighted the unique physical characteristics of participants while simultaneously establishing connections between them and the landscape itself.

Two hundred years later, Atmospheric Memory explores this idea at a moment when perfect recollection is one of the defining conditions of our digital life, and the air that we breathe has become a battleground for the future of our planet.

Visitors were welcome to interact with the artworks by walking a 2-km path inside the island, alongside sand dunes, desert flora, beaches, and fresh water lakes.

"[37] "Our politics, our culture, our economy, everything is running through globalized networks of communication..."[38] Technologies that Lozano-Hemmer has used in his works include robotics, custom software, projections, internet links, cell phones, sensors, LEDs, cameras, and tracking systems.