Analia Saban’s work blurs the distinctions between mediums, employing elements of painting, sculpture, photography, printmaking, and architecture in a way that deconstructs and revisualizes the very process of art-making. Her work often probes the condition of contemporary painting, inspired by her realization during art school that her peers in the painting department were the most financially successful. For example, in an early series of works Saban unraveled a painted canvas and re-wove the threads into scarves, and rolled them into a “Painting Ball.” In another work, she emptied one hundred and ten pounds of paint onto a stretched canvas, which then sagged and bent, and would, over time, entirely break the canvas and frame. Her techniques have been described both as scientific—in their experiment-driven quest for objective truth about the nature of art—and as archeological, due to Saban’s curiosity and awareness of the larger societal implications of her material, object-based inquiries. 

Saban has been included in a number of group shows, including at the Hessel Museum of Art at Bard College, the Los Angeles County Museum of Art, SCAD Museum of Art in Savannah, Marco Museum in Spain, and the Hammer Museum in Los Angeles.