Alex Hubbard

Alex Hubbard was born in 1975 in Toledo, Oregon. He attended Lewis & Clark College in Portland from 1994 to 1996 before completing a BFA at the Pacific Northwest College of Art in Portland in 1999. In 2002 to 2003 he took part in the Whitney Museum of American Art's Independent Study Program in New York, a formative period for his practice.

Hubbard's early recognition grew out of his single-take studio videos, in which he manipulates paint, resin, wood, and found objects to build and unmake sculptural forms on camera, work shown at venues including Reena Spaulings Fine Art, Team Gallery, and Maccarone in New York. He extended the same improvisational logic into painting, working with resin, urethane, and fiberglass to produce abstract compositions with a sculptural surface. In 2010 he was included in the Whitney Biennial and in MoMA PS1's Greater New York, and he has since held solo museum presentations at the Hammer Museum (2012) and the Rose Art Museum at Brandeis University (2014).

He is currently represented by Regen Projects in Los Angeles, which has organized recent solo exhibitions including The Corner of the Table (2019), Emergency Entrance (2023), and Abstract or Regular? (2026). He has also held multiple solo exhibitions with Galerie Eva Presenhuber in Zurich and New York, including Staircase Descending a Nude (2022) and In The Near Field (2021), and has shown repeatedly with Simon Lee Gallery and Galerie Neu. Hubbard has been based in Los Angeles in recent years, after periods living and working in Brooklyn, New York.

Hubbard is generally discussed as an artist who tests the boundary between painting, film, and performance, using improvised, often destructive studio processes as the source material for both his videos and his resin and fiberglass paintings. His inclusion in the 2010 Whitney Biennial and MoMA PS1's Greater New York placed him among a generation of artists reworking process art and structural film for a contemporary context, and subsequent solo presentations at the Hammer Museum and the Rose Art Museum reinforced that reading. Coverage has tended to emphasize the physical, often unruly character of his materials as the throughline between his video and painting practice, rather than any singular stylistic signature.

Alex Hubbard's market runs primarily through his galleries rather than the auction room. No significant, well-documented public auction result for his work has been identified in the sources available as of this profile's data date, and his commercial activity to date appears concentrated in primary gallery sales through Regen Projects and Galerie Eva Presenhuber. This is not unusual for an artist whose institutional profile, museum acquisitions and biennial participation, has developed ahead of a deep secondary market.

Hubbard's institutional footprint, museum collections and a Whitney Biennial appearance, is well documented, but public auction activity for his work is not, which means collectors have little independent price history to reference. There is no catalogue raisonne, so provenance and authenticity questions are best directed to his representing galleries, Regen Projects and Galerie Eva Presenhuber. Given the limited public market data, any acquisition should weigh gallery relationships and institutional exhibition history more heavily than auction comparables, which do not currently exist in sufficient number to be meaningful.