Mona Hatoum

Salcedo similarly transforms everyday domestic objects into haunting sculptures that address political violence, displacement, and collective trauma, making her work deeply resonant with Hatoum's aesthetic and conceptual concerns.

Walker shares Hatoum's unflinching engagement with histories of oppression, bodily vulnerability, and identity, using visually seductive forms to deliver deeply unsettling political content.

Bourgeois employed sculpture and installation to explore the body, domesticity, memory, and psychological tension in ways that closely parallel Hatoum's charged use of familiar objects to evoke fear and intimacy simultaneously.

Beuys expanded the boundaries of sculpture into performance and installation with a politically charged social mission, providing Hatoum with a model for art as a transformative act rooted in material and bodily experience.

Nauman's use of the body as subject and material in video and performance works directly informed Hatoum's early body based performance and video practice exploring surveillance, discomfort, and physical limits.

Clark's sensory relational objects and focus on the participatory body as a site of political and psychological experience deeply influenced Hatoum's interest in tactile, body centered installations that implicate the viewer physically.

Jacir has cited Hatoum as a formative precedent for Palestinian artists working in installation and video, adopting Hatoum's strategy of embedding political displacement and longing into formally rigorous conceptual art.

Shawky's use of installation and video to interrogate Arab identity, colonial history, and geopolitical power reflects a conceptual lineage shaped in part by Hatoum's pioneering example of Middle Eastern artists working critically in Western institutional spaces.