In addition to being largely self-taught, Jorge Galindo pursued academic training in the late 1980s and early 1990s in workshops offered by the Círculo de Bellas Artes of Madrid, where a course taught by Julian Schnabel (New York, 1951) in 1991 had a particularly significant impact on his artistic development. Galindo later shared a workshop with the American artist during one of his stays in Madrid. Schnabel became a kind of mentor for Galindo as well as a personal friend, and in 2012 they presented a joint exhibition at Galería Soledad Lorenzo. As a painter, Galindo has combined, practically from the start of his career, a focus on abstraction rooted in Expressionism—in which the most evident point of contact is a certain synergy with the work of Jackson Pollock—with the principles of collage. These characteristics are reflected most clearly in works like Cigurí verde, 1993, Pintura Bizarre nº 3 (1995), and the photographic collage Botella encendida (1999). As a result of Galindo’s movement between these tendencies, some of his exhibitions have been devoted to collage in the strict sense (with clear Dadaist influences, particularly Hannah Höch), while others have focused on his application of the technique to painting. Exhibitions of the latter type include «Pintura animal», held in Espacio Uno of the Museo Nacional Centro de Arte Reina Sofía in 1999, and «La vida des bêtes»—the cycle to which Disecada. La vie des bêtes (1999) belongs—presented at Galería Soledad Lorenzo. The ”la Caixa” Collection of Contemporary Art also includes Le roi ornamental, a painting executed in 2003. Over the last decade, Galindo has presented a succession of solo exhibitions in Spain, Portugal and New York, where he works with the Ramis Barquet Gallery. His most recent work, Los encargados, was produced together with his former classmate and friend Santiago Sierra and shown at his new gallery, Helga de Alvear. The degree of political engagement reflected in the work represents a new direction for the artist.