In the last years, parallel to photography and video, Liliana Porter has been making works on canvas, prints, drawings, collages, and small installations. Many of these pieces depict a cast of characters that are inanimate objects, toys and figurines that Porter finds in flea markets, antique stores, and other odd places. The objects have a double existence. On the one hand they are mere appearance, insubstantial ornaments, but, at the same time, have a gaze that can be animated by the viewer, who, through it, can project the inclination to endow things with an interiority and identity. These "theatrical vignettes" are constructed as visual comments that speak of the human condition. Porter is interested in the simultaneity of humor and distress, banality and the possibility of meaning.
Her work has been shown nationally and internationally and is represented in many public and private collections, among them: TATE Modern Collection, London, UK; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo de Bellas Artes, Caracas, Venezuela; Philadelphia Museum of Art; La Biblioteque Nationale, Paris, France; The New York Public Library; Museo de Arte Moderno, Buenos Aires, Argentina; Museo de Bellas Artes, Santiago, Chile; Museo de Arte Moderno, Bogota, Colombia; Blanton Museum, Austin, TX; Museo del Barrio, New York; Metropolitan Museum of Art, New York; Smithsonian American Art Museum, Washington DC; The Bronx Museum for the Arts, New York; Museo Tamayo, México D.F.; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Daros Collection Zurich, Switzerland; Museo de Arte Latinoamericano de Buenos Aires; Brooklyn Museum, NY, NY and Museum of Fine Arts, Houston, TX.