Graduated from the Faculty of Philosophy and Literature at UNAM. Since 1993 he has exhibited individually and collectively both in Mexico and abroad. Starting from the theoretical and literary references that molded his thinking, he has always maintained a very precise relation with certain authors, who have served as a reference to understand the way his material and visual interests have shifted. A heterogeneous artist, Ortega was part of Temístocles 44 and founded publishing projects such as Casper, a publication made by a group of artists and whose profile showed the source of references that marked his generation.
If we consider that his first investigations in video date from the end of the eighties, it could well be said that Ortega has maintained a serious investigation on this mean, first using it as a documentation tool for actions made in public spaces. Over time, the medium itself became a direct investigation into the language of video, making it pass to increasingly complex mechanisms to influence the timing of the image, using various spatial strategies. As an artist who bets on trajectories, his gaze seeks the sculptural condition of landscape, silence and emptiness as resources that lead to rethinking the contemporary subject. Philosophical and literary resources are constantly moving back and forward into his work, just to mention some of the titles: Six essays ... Regarding Calvino (1998-1999), The shadow line (2004), Breakfast for Dino Campana (2009).
Representative of Mexico's Pavilion in the 56 Bienale di Venezia, within his production can emphazise: Long night in the present, Marso Gallery, Mexico (2016); Punk, its traces in contemporary art, MACBA / Barcelona, Museo Universitario del Chopo / Mexico (2016); Strange Currencies. Art and Action in Mexico City 1990-2000, The Galleries at Moore College of Art and Design, Philadelphia (2016); Moving Time: Video Art at 50, 1965-2015, Ely and Edythe Broad Art Museum, Michigan (2016); Before the hangover. A fraction of the nineties in the collection of MUAC, Mexico (2011);So it is, now is now, Alameda Art Laboratory, Mexico (2010); Inverted Horizon, The Clauselito, Mexico City Museum, Mexico (2010); 4th Prague Biennial, Karlin Hall, Thamova (2009); The Age of Discrepancy, MALBA, Buenos Aires, Argentina / Pinacoteca of the State of Sao Paulo, Brazil (2008); Before the Horizon, Maison d'Art Actuel des Chartreux, Belgium (2006); After the Act, MUMOK Museum Moderner Kunst, Vienna, Austria (2005); Occupancy, Public Art Room Siqueiros, Mexico City (2004); Something Happens, Nothing, International Studio and Curatorial Program, New York (2002); Gwangju Biennial, South Korea (2002); Biennial of Tirana, Albania (2001) and Biennial of Gwangju, South Korea (2000).