Claudia Hart emerged as part of a generation of intermedia artists in the 1990s in the "identity art" niche. She still examines issues of identity, now focusing on how technology is affecting cultural constructions of gender identities and issues of the body, perception, and nature collapsing into technology and then back again.
Hart was an early adopter of virtual imaging, using 3D animation to create media installations and projections. Later, as they were invented, other forms of VR, AR, and objects using computer-driven production machines, all based on the same computer models. She works with digital trompe l'oeil as a medium, directing experimental theater and dance, as well as making media objects of all kinds using Rapid Prototyping, CNC routing, virtual-reality immersive environments, and augmented-reality custom apps.
Hart’s work is symbolist, poetic, vaguely narrative, mesmerizing, hypnotic and formalist. Bodies or natural forms like flowers always appear in them. Hart calls her work "post-photography" and has created a body of theoretical writings and exhibitions based on this concept.
At the School of the Art Institute of Chicago, in 2007, she developed a pedagogic program based on the concept of Experimental 3D, the first art-school curriculum teaching simulation technologies–the post-photographic–in the context of the contemporary art world.
Hart’s works are exhibited and collected by galleries and museums including the Whitney Museum of American Art, the Museum of Modern Art, the Metropolitan Museum, the New Museum, and the Eyebeam Center for Art + Technology, where she was an honorary fellow in 2013-14, Pioneer Works, NY, where she a technology resident in 2018, and currently, a 2019 fellow of the Center for New Music and Audio Technology, UC California, Berkeley and a Resident of the Anderson Ranch Center in Aspen, CO. in 2019.
Hart lives in New York and Chicago, where she is a tenured professor at the School of the Art Institute, in the Department of Film Video, New Media and Animation.