The importance of time as a fundamental element of his artistic approach manifests itself in the depth of his work. His interest in measurements of time correlates with the influence of Tibetan mandalas, with their inherent meditative aspect. For Walsh, the process of creation is as much a form of meditation as is the contemplation of the work itself. Passively, he directs the eye of the viewer, which loses itself in the illusionist logic of the work. For example, something that may appear as a fact at the top edge of the image is transformed into fiction below. His artistic practice ranges from sculpture, watercolour and wood relief to the artist book, and demonstrates his versatile exploration of the concept of the grid.

Dan Walsh studied at the Philadelphia College of Art, Pennsylvania and Hunter College, New York. In 2019, his work was shown in a year-long solo exhibition at the Bonnefantenmuseum, Maastricht (NL), co-hosted with the Jan van Eyck Academie. His artistic output has been the subject of numerous exhibitions, including at P.S.1 Contemporary Art Centre in Long Island City, the New Museum in New York, the Centre National d’Art Contemporain in Nice, the Speerstra Foundation in Lausanne, the RISD Museum of Art in Providence, Rønnebaeksholm, Naestved, Villa du Parc, Annemasse and Kunstverein Medienturm, Graz. Walsh participated in the 2003 Biennial of Ljubljana, Slovenia, as well as the Biennial of Contemporary Art in Lyon, France, and the 2014 Whitney Biennial. His work is included in major collections including the Art Institute of Chicago, Museum of Modern Art New York, Whitney Museum of American Art in New York, Victoria & Albert Museum in London and the Musée d’art Moderne et Contemporain in Geneva.