Wanda Mihuleac graduated from the Fine Arts Institute of Bucharest, class of 1970, majoring in graphic design. She became active both as a curator and an artist on the Bucharest art scene of the 1970s. She curated national exhibitions such as The Human Body (Carol Davila University of Medicine and Pharmacy, Bucharest, 1975), Space-Object and Space-Mirror (Ion Mincu University of Architecture, Bucharest, 1982 and 1986 respectively) and, as an artist, she took part in the Biennials in Venice (1972), Paris (1982) and São Paolo (1987).
Her interest in visual and textual art has brought her close to philosophy and poetry, resulting in conceptual multimedia works displayed at her self-curated exhibition The Writing (1980) and at the 101 Livres-Ardoises, Théâtre de Liège, Belgium (2019) and in a creation of the publishing house Transignum (Paris, 2001). She was among the first in Romania to start experimenting with photography, performance and video. Fascinated with conceptualism, she created tautological photos taken in nature in which she analysed the materials that she used: writing “eau” in water drops, “terra” with earth, “reflection” in mirrors and “ombre” with shadows.

The international ecological project created by the group Messaggio Terrae brought her attention and in 1983, together with other Romanian, artists she joined its mail-art work, which consisted of connecting with foreign artists by collecting bits of earth and passing them across borders. The tie between the body and landscape was manifested through her psycho-ecological projects. One of them was an action staged and filmed in the 35 mm film, Paysage-corps (1978), in which the body of dancer Raluca Ianegic was integrated in a natural landscape. The female body was covered in moss and grass and blended so well in the environment that a rabbit passed by, oblivious to the intervention.
Banda Moebius [Band of Moebius] was an installation for the Biennale de Paris (1982), encompassing a spiral structure covered in moss. Initially the piece was a multimedia installation, accompanied by the music of experimental composer, Octavian Nemescu. Its purpose was to show the everlasting bond between nature and culture, which is at the core of W. Mihuleac’s art-making process.
In 1987 and 1988 a group of Romanian artists met at the home of Decebal (b. 1944) and Nadina Scriba and filmed their bodies in action; the joint videos were called House pARTy. W. Mihuleac acted using her own body, holding a triangular blackboard on which she writes the word “ART” that she then covers the board with her silver jacket, reopening it to reveal the board has transformed into a glowing light. She then opened her coat, revealing a body of light, instead of flesh.
After the revolution of 1989, W. Mihuleac took a scholarship in France (Université Paris 1-Sorbonne-Panthéon, 1993-1994) and moved there, later becoming a French citizen. She continued producing her conceptual and body art projects, such as Modèle déposé (2002, Paris). At the gallery in La Cité internationale des arts, as an actor once again, she was invited to perform nude in the piece that reflected on whether or not the female nude is paramount in the process of art making.