爱德华多·卡茨教授以生物艺术和遥现艺术闻名全球。在80年代的前互联网时期，卡茨是电信艺术的先驱，而在90年代早期他则以混合机器人远程控制技术和活体生物的前卫作品而著称。他前瞻性地将机器人、生物学和网络技术整合，并探索了后数字时代的主体位置的流动性。他的创作包含：从线上经验的神话诗学（《维拉普鲁》）到生物技术的文化冲击（《创世纪》），从数字时代记忆的变化不定（《时间胶囊》）到分散的集体能动性（《传送未知状态》）；从“异国”的问题性概念（《Rara Avis》）到创造生命与进化（《绿色荧光蛋白兔》）。

在21世纪之初，卡茨为当代艺术开创了一个新方向——“转基因艺术”。第一件突破性的转基因作品名为《创世纪》（1999年），其中包含了他创造的一个“艺术家基因”，之后他又创作了名为“阿尔巴”的荧光兔（2000年）。

卡茨的作品在全球范围内展出并见诸于各大艺术媒体和主流媒体，并曾获得媒体艺术界的最高奖项-金尼卡奖。

Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny).

At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his "transgenic art"--first with a groundbreaking transgenic work entitled Genesis (1999), which included an "artist's gene" he invented, and then with his fluorescent rabbit called Alba (2000).

Kac’s work has been exhibited internationally and has been featured both in contemporary art publications (Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented at