Jan Hendrix (Maasbree, Holland 1949). Studies at Atelier 63 in the city of Haarlem (1968-1969). There he meets his mentors who, through film and dance, introduce him to a more multidisciplinary vision of art. He joins the Smeets printing company in the city of Weert to learn the test printer trade. He continues his masters studies at the Jan van Eyck Academie and focuses on graphics. He receives a grant from the Netherlands Ministry of Culture that he uses to travel to Mexico, where he establishes his workshop dedicated to his own production and to invite other Mexican artists to experiment with screen printing, following the practice of collective workshops. He frequented the Luis López Loza workshop, a collective space in the Condesa buildings, where Emilio Ortiz, Fiona Alexander, Leonora Carrington, Francisco Toledo and Gunther Gerzso worked and with whom he shares his ideas on the ethics and perseverance of the artist (1975-1976) .

His curriculum of exhibitions in museums and galleries is extensive, with an average of three to four exhibitions per year, his continued participation in the Clement Gallery in Amsterdam, Holland, and his trajectory in Mexico, first with the extinct Galería Ponce and Galería Arte Contemporáneo and with the Mexican Art Gallery, where he continues, in addition to La Caja Negra in Madrid, Spain. He has had solo exhibitions at the Bonnefanten Museum (Maastricht), the Museum of Modern Art (Mexico City), the Imperial Archives of the Forbidden City (Beijing), the Tropenmuseum (Amsterdam), the Museum of Contemporary Art (Oaxaca), the National Calcography of the Royal Academy of San Fernando (Madrid) and the Irish Museum of Modern Art (Dublin).

Currently, he devotes part of his time to projects of architectural collaboration, based on the research of fractal composition, and which are incorporated into the architectural project from its conception. The first of these murals belongs to the Hotel Habita (with Enrique Norten and Bernardo Gómez Pimienta); from that project he has developed pieces for the façade of the Rectoría de la UAM Ixtapalapa (with Alberto García Lascurain), the façade of CENTRO School of Design, Film and Television (with Salvador Arroyo, Alejandro Hernández and Juan Carlos Tello) and the roof / light box of the Cultural Center of the Economic Culture Fund (with Teodoro González de León), among others of great relevance.