Collaboration is an important part of my artwork. Here are some examples of projects where I worked in concord with activists, writers, poets, and other artists.
Mars Is Not An Option
Postcards From The Edge, Parlor, LA 2020 – Mail Art Project and Postcards For Democracy, Mark Mothersbaugh & Beatie Wolfe’s Collective Art Campaign
Election Fundraiser Mask

PIEROGI, POWER T’s 2020, T-Shirts, Tote Bags, Masks Of Over 100+ Artists Designs To Raise Money For The 2020 Presidential Election

Save Nature Save Ourselves

Silver Linings, Fundraiser For Santa Fe Dreamers Postcard Project, SITE Santa Fe, Mixed Media On Card Stock, 5 x 11″, 2020

Vote 2020

Axle Contemporary Art, Be Counted, Posted On Jefferson & Catron Streets, Santa Fe, And In The Santa Fe Reporter, Mixed Media On Card Stock 2020

WE The People

Jason McCoy Gallery, Drawing Challenge IX, Cynthia Hartling, Therese Tripoli, And Jennifer Viola, 2020 inspired by Maya Angelou’s poem ‘A Brave and Startling Truth’, which she wrote for the 50th Anniversary of the United Nations in 1995

Fire Wheel

Fire Wheel Book Of Poems By Sharmila Voorakkarra, Cover By Cynthia Hartling


The Good Life, Mail-Art Project Of Invited International Visual Artists By Anke Becker, Curator. Watercolor On Arches Paper, 4 x 6″, 2015.

I Don't Poem

Abrons Arts Center, Book Launch for I Don’t Poem: An Anthology Of Painters, Poem Indian Time and Slip, 2014 by Cynthia Hartling

Recent Exhibitions

Recent awards, talks and locations where my work may be seen.
Paintings on view at G2 Gallery, Santa Fe, New Mexico, 505.982.1212

Paintings on view at J.Mackey Gallery, East Hampton, New York, 631.237.4655

Grant Winner 2022 at Glass Alliance-New Mexico and Bullseye Glass, Santa Fe, New Mexico

Panel Discussion at Site Santa Fe, Creativity and Covid, Santa Fe, New Mexico

Drawings On View at Pierogi Flat Files, Brooklyn, NY, 917.699.6908


Reviews of my work.

“The cuts Cynthia Hartling makes in her pictures suggest a need to go beyond the optical realm, implying that vision is informed as much by invisible, conceptual layers as it is by what is seen with the eyes.”
—Bernard Yenelouis, 2017/03/05 Brattleboro Museum & Art Center

“Atoms or views of distant universes emerge from an infinitely productive, dun-colored background.”
—Elizabeth Johnson, 2018/02/02 Delicious Line Inc.

“Squares pulsate with energy, in their own universe, amid sheets of tremulous color.”
—James Wylie, 2013/03/04

“Her work feels in part diaristic, as if she is working some immediate thought or emotional process out into the world.”
—Cassandra-Neyenesch, Janet Kurnatowski Gallery, 2010

“The syncopated rhythms of abutting, overlapping shapes hint at the geometric jumble of cityscape, while a curling pale lavender band dominates the top—a touch of kookiness amid the tectonics.”
—Stephen Maine, artcritical, 2010/11/02

“Her use of color is ravishing and deeply personal, from pistachios, aquas, and hot oranges to deep, saturated blacks.”
—Cassandra Neyenesch, The Brooklyn Rail, 2007/03/02

“One leaves the show grateful for these nine moments of insight into Ms. Hartling’s creative process.”
—Benjamin La Rocco,
artcritical, 2004/02/01

“The small group of paintings in this gallery debut bears testimony to Hartling’s subtle color
sense, which evokes weathered frescos, or illuminated manuscripts.”
—James Kalm, The Brooklyn Rail, 2004/03/01

“Oil paint is subtly sculpted on the canvas, raising the plane into the viewer’s space, bridging the gap between surface and viewer.”
—A.L. McMichael, After Vasari, 2011/11/10