True to the Hairy Who ethos, Nilsson’s work is full of cheerful colors and humorous storylines, though her talent really shines through her weird and wonderful interpretations of the body, including long spaghetti-like limbs, droopy breasts , hair poofy hairstyles, and at times, animal features.
Although Nilsson has exhibited regularly in solo shows since the late 1960s, there has been a resurgence of interest in his work over the past decade. Since 2019 she has held solo exhibitions with several leading galleries including Hales London, Parker Gallery, Matthew Marks, Garth Greenan Gallery and Rhona Hoffman Gallery. And its market has grown steadily: At a Hindman auction in 2019, Nilsson’s Dipdick…Adam and Eve after Cranach (1971) sold for $324,500, more than 10 times its high estimate. Like his peers in the Hairy Who and the associated group Chicago Imagists, Nilsson’s work has not only gained commercial and critical recognition in recent years, but his whimsical and dynamic style is also inspiring new generations of painters.