Google + square white large Facebook square white large Facebook square white small Google + red small Twitter square blue small


The interdisciplinary artist, Rachael Romero left Australia as a teen, traveled the world and now lives and works in NY. Her body of work includes public art, posters, prints, mass installation, film, video, painting and writing.

In 2017 her work was shown in Get with the Action: Political Posters from the 1960s to Now at SFMOMA.The 'Unity Collage' made in Romero's Art workshop at the Third Street Men's Shelter NYC, in the late 80's (first shown at the Dia Foundation, Soho ) was in the exhibited at the Reina Sofia Museum in Madrid, Spain, as a part of the exhibit: Not Yet: On the Reinvention of Documentary and the Critique of Modernism,  curated by Jorge Ribalto. In 2016 it showed in the exhibit: martha rosler: If you can't afford to live here, mo-o-ove!!  hosted by the Temporary Office of Urban Disturbances at Mitchell-Innes & Nash, NYC. Romero's work was a part of How Work Posters Work, at Cooper Hewitt, Smithsonian Design Museum, New York 20015.  

The Cushing/Whitney Medical Library at Yale aquired a number of her vintage block prints concerning medical, civil rights and housing. Her work is now represented in the Whitney Museum of American Art online collection. In 2014, ENSLAVED in a Magdalene Laundry, Adelaide, the art of Rachael Romero, a survivor of The Pines, was exhibited at the KPC Gallery, Hawke Centre, University of South Australia, Adelaide.

Romero's work is part of the travelling exhibits: I Want the Wide American Earth: An Asian Pacific American Story, (Smithsonian Institute's Capital Gallery, Washington DC.); and Health is a Human Right: Race and Place in America, (The David J. Spencer CDC Museum, Atlanta, GA. The large image Stop Forced Sterilization poster, was initially made in b&w at the request of Sterilization Abuse and Informed Consent Rights Project in California. Color added in a small edition for the CDC exhibit, now at Georgia State University Library). She participated in the exhibit  INSIDE: Life in Children's Homes and Institutions, at the Australian Museum and the Melbourne Museum in Australia; and, with her students as a pert of  An Inclusive World (Queens Art Museum, NY)in 2014.  Her Boycott Nestle and Delmonte Posters were in a travelling exhibit The Art of Economic Activism, organized by the AFSC /CPSG in 2013. Boycott!

Her art was censored by the head of the Vatican Museums before it could be presented during the Religion, Nature and Art Conference hosted by the Vatican Museum's Ethnological Museum and International Society for the Study of Religion, Nature and Culture.

Romero's short: A Different Lens was screened as part of Autism Pride Week: in Ashville, SC.

In 2012, her film: In the Shadow of Eden, (a NY Times critics pick) was screened at the Australian National Museum, Canberra, in conjunction with the Inside exhibit opening there, and then travelling on Melbourne. Romero's work was highlighted in Spotlight on Africa and the Diaspora, the Sackler Center (Victoria and Albert Museum, London, UK); Africa and the Americas: the Legacy of the Diaspora (University California Santa Barbara, CA); Under the Big Black Sun: California Art 1974-81 and Pacific Standard Time (Museum of Contemporary Art, LA); Occupy the Bay Area, (Yerba Buena Center for the Arts, SF, CA); The 1968 Exhibit, (Oakland Museum of California, CA); All of Us or None; Social Justice Posters of the San Francisco Bay Area, (Oakland Museum of California CA); Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present, (Richmond Art Center, Richmond, CA): Essen unterwegs - Eine Ausstellung über Mobilität und Wandel (Schlossmuseum Linz, Austria). Romero's work was included in: Every Body: Visual Resistance in the Feminist Health Movement, (Space Gallery, Chicago, IL), Signs of Change (Exit Art, NY); Home, (Ricco/Maresca Gallery, NY); Sniper’s Nest: Art that has Lived with Lucy Lippard, (Bard, Annandale-on-Hudson, NY); Rare 20th Century Propaganda Posters, (Victoria and  Albert Museum, London, UK) and Committed to Print, (MOMA, NY).

Romero's posters are in the collections of the Victoria and Albert Museum, London, MOMA, NY; Cushing/Whitney Medical Library Yale University; The Oakland Museum; The Cleveland Museum, among others.

She has been awarded residencies at: MacDowell, NH; Yaddo, NY; Blue Mt. Center, NY; Virginia Center, VA and Byrdcliffe, Woodstock,NY.

Notable projects include her work as the principal artist of the San Francisco Poster Brigade  (1975-1983); her Innovators in the Arts lino-cuts (1980-1985); Mural in Canal Street Post Office, NYC (1986-); her award-winning film and NY Times Critics pick: In the Shadow of Eden (2003, 2004) screened at the British Museum at Yale during Film Fest New Haven; at the Full Frame Film Fest, the Cleveland Film Festival, the Santa Fe Film Festival, and the Australian National Museum, Canberra; the film Zen Master: an intimate portrait of John Daido Loori Roshi (2009) screened at the Ulster County Performance Center, Kingston, NY. In 2011 Romero completed Nothing Sacred: Magdalene Laundry Drawings in 2014 a series of works processing her experience of living the aftermath of enslavement in a Magdalene Laundry.  She is currently investigating the experience of brain trauma after surgery in a new series to regenerate the brain. Always choosing media that can be multiplied and widely disseminated, her body of work demonstrates a commitment to seeing deeply, confronting stigma, healing and transforming. Romero holds a double M.A. (Studio Art, Art Education) from Antioch University,1992.

Throughout, and entwined as a vital part of her art, Romero has led art workshops for nuero-diverse adults who have been homeless; inner-city children in the NY Housing Authority and taught at NYU's experimental Advanced Learning Lab for teens on the Autistic spectrum. She has taught at Pratt Institute, Brooklyn and the Bosphorus University, Istanbul. From these perspectives she saw how sustained involvement with the creative process can result in the metamorphosis of individual and collective suffering into the virtual power of creative growth.