David Hockney, Hotel Acatlán: Second Day, 1984–85, is one of the most celebrated and visually engaging prints from David Hockney’s landmark Moving Focus series, created during what is widely regarded as the artist’s most important and innovative decade. Executed between 1984 and 1985, this monumental two-sheet lithograph transforms the courtyard of the Hotel Romano Angeles in Acatlán, Mexico, into an extraordinary exploration of perception, perspective, movement, and memory.

By the early 1980s, Hockney had become increasingly dissatisfied with the fixed viewpoint of traditional Renaissance perspective. Inspired by his groundbreaking photographic “joiners,” he began developing a revolutionary approach to depicting space—one that reflected how the human eye naturally experiences an environment by constantly shifting focus and moving through it over time. The Moving Focus series represents the culmination of these investigations and stands among the most intellectually significant bodies of work in Hockney’s career.

Rather than presenting a conventional architectural view, Hotel Acatlán: Second Day invites the viewer to move through the hotel’s vibrant Mexican courtyard. Brick arches, columns, tropical plants, cacti, patterned paving, and architectural details are woven together through multiple viewpoints, creating a composition that feels simultaneously ordered and dynamic. Sweeping lines guide the viewer across the exceptionally wide image, while brilliant passages of red, blue, green, and yellow balance precision with spontaneity. The result is an image that is unmistakably Hockney: playful, sophisticated, and endlessly engaging.

Works from Hockney’s 1980s period are among the most sought-after and collectible of his entire career. During this remarkable decade, he fundamentally redefined contemporary landscape and architectural representation while simultaneously pushing the technical boundaries of printmaking. Collectors prize these editions not only for their rarity and exceptional craftsmanship, but because they represent one of the artist’s most groundbreaking creative achievements. As demand for Hockney’s work continues to grow internationally, major prints from the Moving Focus series have become increasingly difficult to acquire, particularly impressions of this quality.

Produced in collaboration with the legendary master printers at Tyler Graphics, Hotel Acatlán: Second Day showcases one of the most ambitious lithographic projects of the 1980s. Printed from 48 aluminum plates across two sheets of luxurious handmade TGL paper, the work possesses a richness of color, texture, and scale that rivals original paintings. Printed by Roger Campbell and Lee Funderburg and published by Tyler Graphics Ltd., the complete composition measures approximately 29 by 76 inches. It stands as one of the finest examples of Hockney’s mastery of the printmaking medium.

Museum Collections:

The significance of Hotel Acatlán: Second Day is reflected by its inclusion in the permanent collections of several of the world’s leading museums and public institutions, including:

Tate, London

Museum of Contemporary Art Tokyo

Walker Art Center

United Kingdom Government Art Collection

Its presence in these prestigious institutions underscores the importance of both the Moving Focus series and Hockney’s revolutionary contributions to late twentieth-century art.

This example, numbered from the edition of only 98 and hand signed and dated by David Hockney, represents an outstanding opportunity to acquire one of the artist’s most desirable and museum-quality print editions. Combining rarity, historical significance, exceptional provenance, monumental scale, and one of the strongest periods of Hockney’s career, Hotel Acatlán: Second Day is a cornerstone work for serious collectors of modern and contemporary art.

David Hockney’s Moving Focus series, created between 1984 and 1986, is one of the most ambitious print projects of his career. Moving beyond traditional fixed perspective, Hockney used shifting viewpoints, fragmented forms, expressive drawing, and vivid color to explore how people experience subjects over time. Featuring portraits, interiors, still lifes, chairs, and views of the Hotel Romano Angeles in Mexico, the series was produced with Kenneth Tyler using innovative combinations of lithography, etching, screenprinting, collage, and handmade papers. Together, the works represent a major achievement in modern printmaking and a powerful exploration of movement, perspective, and memory.

The works in David Hockney’s Moving Focus Series (1984–1986) include: Conversation in the Studio, Tyler Dinning Room, Pembroke Studio Interior, Pembroke Studio with Blue Chairs and Lamp, Two Pembroke Studio Chairs, The Perspective Lesson, Amaryllis in Vase, Red Celia, Celia in Green Hat, Hotel Acatlan: First Day, Hotel Acatlan: Second Day, Hotel Acatlan: Two Weeks Later, Views of Hotel Well I, Views of Hotel Well II, Views of Hotel Well III, Walking Past Two Chairs, An Image of Gregory, An Image of Celia, An Image of Celia, State I, An Image of Celia, State II, An Image of Celia Study, Portrait of Mother I, Portrait of Mother II, Portrait of Mother III, An Image of Ken, White Porcelain, A Picture of Two Chairs, Number One Chair.

Catalogue Raisonné & COA:

David Hockney Hotel Acatlán: Second Day, from Moving Focus, 1984–85 is fully documented and referenced in the below catalogue raisonnés and texts, including Museum of Contemporary Art Tokyo catalogue number 270 and Tyler Graphics catalogue number 283. Copies will be enclosed as added documentation with the invoices that will accompany the sale of the work.

1. A Certificate of Authenticity will accompany this artwork.