Lara has participated in major art fairs such as Estampa, Art Marbella, and Enter Art Fair, and her work has been exhibited in venues like the Arken Museum in Copenhagen (alongside figures like Marina Abramović and Ai Weiwei), the Kofukuji Temple in Nagasaki, and the Gustavo de Maeztu Museum, among others. Her pieces also belong to institutional and private collections across Europe, the U.S., and Japan, including the Smithsonian Foundation.

Her creative process, as she has explained in interviews, is as deliberate as it is open to chance and intuition. She works from sensory experience: color as a reflection of time, dichroic glass as a revelation of the ephemeral, concrete as the material of the present. This formal diversity does not dilute her coherence—it enriches it.

From solo exhibitions like Es cuestión de tiempo (2022) or Amazonas, madre agua (2021) to group shows like Estación total or Líneas rectas, her work proposes a visual cartography that engages viewers through both the intimate and the universal. Mercedes Lara does not pursue a fixed aesthetic: she moves, mutates, and grows, faithful to the conviction that the best work, as she herself says, “is the one yet to come.”