1912
Born December 27, in Guadalupe, San José, Costa Rica. Son of Manuel María Zuniga -religious sculptor-, and María Chavarria Calvo.

1918-1924
First drawings and little sculptures, in particular figures for the Nativity. Primary school. First important readings The Art History by Warman, Artistic Anatomy by Strat and monographs of great Renaissance’s artists.

1925-1927
He works at his father workshop: wood and stone sculpture carving. The workshop produces mainly religious pieces for local churches. Other young sculptors collaborate at the workshop and also produce their own works: Nestor Zeledón, Rafael Chacón, Juan Manuel Sanchez and Max Jiménez among others. Besides the sculpture tasks at the workshop there is a permanent gathering about art and its function. Multiple art and literature magazines are discussed: 

Black and White and The Sphere. The reading of articles by Alejo Carpentier in the magazine

Cartels, and the reading of texts by G. Simmel and A. Riegl. 

During the 1926-1927 school period he attends Fine Arts local school as a regular student of Tomás Povedano. Considering drawing plaster models is a waste of time, he abandons the course.

1928-1930
Using his brothers and sister as models, he starts painting in oil and makes his first personal wooden pieces.

He obtains the 2nd sculpture price during the National Fine Arts Exhibition (1929). The reading of Modern and Contemporary Sculpture by Alexander Heilmeyer allows him to discover the works by E. Barlach, J. Bernard, C. Brancusi, J. De Creft, J. Epstein, A. Maillol and A. Rodin. Through a text by Eugenio D’Ors, he discovers and get into the work of Paul Cézanne, to whom he will always consider one of the greatest painters of modern art. He carves his first stone sculpture, which will allow him to become independent from his father. He obtains a 2nd price at the National Fine Arts Exhibition (1930). A large travel show of German expressionism has a particular influence in his later development: E. Nolde, K. Kollowitz, F. Marc, M. Beckmann, G. Grosz and others. 

1931-1932
He obtains 1st prices in the painting and sculpture sections during the 3rd National Fine Arts exhibition. He encounters the Mexican muralist movement through the magazine Forma published in Mexico by José Vasconselos, which becomes his main information source on Mexican Art. At the 4th National Fine Arts Exhibition, he obtains a 1st price in the painting section and a 2nd price in the sculpture one. Some articles at the local press propose to the government to give him a scholarship to go study overseas.

1933
As a collaborator of his father workshop, he produces some religious pieces in stone, in particular a San John of the Cross. He poses for his father and his father poses for him. The encounter with Diego Rivera, J.C. Orozco work and the Mexican Direct carving school acquire a priority character in his development. Under the influence of other artists complaints, he participates out of competition at the 5th National Fine Arts Exhibition. 

1934
He produces a series of watercolors of pre-Hispanic ceramics for the archeologist Jorge Lines.  He paints a mural at the Santa Teresita church in San José, which is later destroyed for unknown reasons. He produces a series of woodcuts with other artist in the album Wood etchings by Abelardo Bonilla. Under the influence of America’s Rediscovery by Waldo Frank he assumes the importance the pre-Columbian art play in contemporary Latin American art development.

1935
He obtains the 1st place in a competition to sculpt the monument to the mother by presenting a clay model of his project. When the work is presented in public a large polemic starts and the jury rejects his original decision. His friends grouped at the Circle of Art Friends, collect the money to buy the stones and invite him to execute it, nevertheless the work will remain unfinished since it included a large pedestal with reliefs all around the four sides. 

The Maternity finally obtains the 1st price at the 1st Fine Arts Central American Exhibition. In the same exhibition he obtains a 3rd place in the painting section, but the government denies him the scholarship.

1936
He publishes two woodcuts in the booklet Poetry and Wood, I. the Circle of Art friends organizes his 1st individual exhibition. Through the sale of some work and the sale of the gold medal from the Central American exhibition, he travels to Mexico through Guatemala where he is received by the sculptor Galeotti Torres. 

He arrives to Mexico in the autumn of that year staying at Buenos Aires hotel in Mexico City. He meets the painter Manuel Rodriguez Lozano for whom he has a letter from a Costa Rican

friend, the writer León Pacheco. Rodríguez Lozano familiarizes Zuñiga with the cubist movement and the work of sculptors like Mateo Hernandez, Archipenko, Lipchitz and Zadkine, whose concepts have a definite effect in his own concept of form and volume. At the painter’s library, he discovers the writings by André Malraux. Later on, he would work at Lozano atelier as well as in the painter atelier at San Carlos school. He gets used to visit the old Anthropology Museum at the Moneda Street in Mexico City.

1937
He becomes sculptor Oliverio Martínez’s assistant, with whom he collaborates in the 1910 Revolution Monument in Mexico City. This task gets him used to work with Mexican stonecutters, famous for their pre-Columbian tradition knowledge of stone carving. He can usually be seen at the Rancho del Artista, meeting point of the independent artists and its director, Francisco Cornejo, acquires the portrait of sculptor Rómulo Rozo, first sculpture carved by Zuniga in Mexico in 1937. In Costa Rica, after a long permanence in the National Theater warehouse, the Maternity is placed at the site it is today: Carit Maternity Hospital in San Jose.

1938
He obtains a permanent job as sculptor assistant at the Esmeralda School, founded in 1927 and whose purpose is the continuity of direct stone carving, fomenting it among young sculptors and stonecutters, independent of all academic concepts. He is hired as Guillermo Ruiz sculptor assistant for the large monuments commissioned by Lázaro Cárdenas government. This lets him enter at War materials where he learns the lost wax casting techniques and will meet Moises del Aguila, with whom he will establish a long and rich working relationship. He participates in the organization of the Mexican Sculptor’s Society with Guillermo Ruiz, Rómulo Rozo, Juan Cruz and Fidias Elizondo. Pushed by a growing interest in Mexican popular culture, he travels around Mexico.

1939
With a recommendation from Oliverio Martínez, prematurely passed away, Zuniga succeeds him as a professor in the Esmeralda. This collaboration will end when he retires in 1971. Manuel Felguérez, Pedro Coronel, Jose Muñoz, Benito Messeguer and others are among his disciples.

1940-1941
As a member of the Mexican Sculptor’s Society, he participates in a collective exhibition at the International showroom of woman in Mexico City. He also exhibits some oil paintings at the Art gallery of the University. As a member of the Mexican Artist’s Society, he participates in the creation and first exhibition of the Espiral Gallery with Angelina Beloff, Alvarado Lang, Everardo Ramírez, Feliciano Peña, Francisco Gutierrez, Fernández Ledezma, German Cueto, Olga Costa and Raúl Anguiano.

In the yards of the Esmeralda School he produces, among others, a Pieta in Tulpetlac Stone he finishes the following year

1942
He participates in three collective exhibitions Thirteen Mexican artists at the Chicago Art club, Costa Rican Art at the Rollins College (Winter Park, Florida) and the Homage to Mexican and Spanish artists at the Palace of Fine Arts (Mexico). He meets Diego Rivera with whom he will keep a solid relationship during their collaboration in the preparation of the Communications relief, at the end Rivera will not participate in the finished project. The Modern Art Museum of New York director Alfred Barr buys through Inés Amor the Totonaca child head in artificial granite. (Artificial granite is cement with pieces of marble with which Esmeralda sculptor’s experiment in their search of materials requiring less cost and less working time). 

1943
The Metropolitan Museum of New York acquires two of his drawings. He participates in several collective exhibitions: Latin-American Sculpture Collection at the Modern Art Museum of New York. The Free showroom November 20th in Fine Arts Palace, Mexico City. The recent Mexican art exhibition at the Philadelphia Museum, this show will travel to Ottawa, Toronto, Montreal, Baltimore and New Orleans. The Costa Rica IBM acquires a piece carved in 1932 Indian Head. He executes his first bronze casting Girl’s Head.

1944
He participates at the collective exhibition Modern Mexican Painting in Monterrey. A growing interest in the relation between sculpture and architecture starts as well as his collaboration with architects in large scale sculpture.

Invited by his student, painter Pedro Coronel, he travels to Zacatecas, which allows him to amplify his knowledge of the general culture of his new country. He painted there in oil and experiments with Tempera. 

1945-1946
He is named director of the terra-cotta department at La Esmeralda, where he realizes an intense work with Jose L. Ruiz, in charge of the ovens. He will keep this direction until 1954. He participates in the collective exhibition of sculpture at the Art house and at the exhibition: Child in Mexican drawing in El cuchitril of Mexico City. There is also an oil painting at the exhibition of Mexican painting at the Knoedler gallery in New York. He obtains the 1st price during the competition for the Valsequillo Dam Monument. Three stone figures and a bronze relief. During the preparation of the natural size model for the monument his students and some other sculpture professors from la Esmeralda, participate

1947
He presents some drawings at the Knodler Gallery of New York in the context of a collective show, as well as in the Central American Art Gallery in Mexico City. He marries Elena Laborde, painting student from La Esmeralda. He executes the monument to the anonymous miner, work in artificial granite in Angangueo, Michoacán. His first son, Ariel, is born.

1948
As a member of the Arts Promotion Society, he exhibits with Javier Guerrero, Jose Chávez Morado, Fanny Rabel, Mariano Paredes, Francisco Eppens, Raúl Anguiano, Jorge González Camarena and Ángel Zamarripa at the palace of Fine Arts, Mexico. He participates in a collective exhibition at the national Theater Gallery in Costa Rica.

His sculpture Singing Children is used by the National Music School as an award to the most stand out student in two occasions. 

1949
He is invited to participate at the III International sculpture exhibition of 1949, in Philadelphia, as well as in the second exhibition from the Arts Promotion Society. The Bank of Mexico commissions him a relief for the Chapultepec Sporting Club, a large terra-cotta experiment and a very important technical achievement for him. He is included in the book 45 Mexican artists by Virginia Stewart, published by Stanford University Press. He becomes a founding member of the Mexican Plastic Arts Salon.

1950
He works in a Seated Benito Juárez statue, Chiluca stone carved for Tamazulapam, Oaxaca and the Pipila Monument in artificial granite for the city of Morelia. He starts a collaboration with the Government public monuments: Heroes statues, inside and outside Mexico, fountains for public gardens and a close collaboration with architects, in the Plastic integration movement. His second son, Javier, is born.

1951
He executes the monument to the poet Ramón López Velarde in Zacatecas, an important step in the consolidation of his personal style. He participates in the first collective sculpture show at Fine Arts Palace. He exhibits at the Contemporary Art Gallery and at the exhibition Art and fabrics in the Mexican Art Gallery. He is included in the book Contemporary Mexican Sculpture by Margarita Nelken. 

1952
He integrates to the National Front of Fine Arts directed by Francisco Goitia with Alfredo Zalce, José Chávez Morado, Olga Costa, Javier Guerrero, Francisco Dosamantes and others. In close collaboration with the architect Carlos Lazo, he realizes the Bank of Mexico large relief in Veracruz, as well as the group Allegory to the sea.

1953
With the architects Carlos Lazo and Augusto Pérez Palacios, he executes the Chiluca stone relief for the Communications building in Mexico City. He presents a sculpture at the Ancient and Modern Mexican Art at the Fine Arts Palace.

1954
He finishes the Communications relief and participates in a collective exhibition at la Esmeralda. He moves to Tlalpan, where he has a private studio for the first time and where he will live until his last day. 

With Carlos Lazo and the painter José Chávez Morado he organizes the National Crafts School and he teaches there for one year. He acts as a jury for the Winter Show of the Mexican Plastic Arts Salon. He realizes 64 portraits of presidents and Communications Ministers of Mexico, carved in Xaltocán stone. He publishes an article about the opinion of sculptor about his own work Arte Público newspaper directed by David Alfaro Siqueiros with whom he had an established relationship since 1947. 

He presents an individual show at the National Museum of Costa Rica with painting and sculpture and collaborates for the magazine Brecha directed by his friend the Costa Rican poet Arturo Echeverría L.

He illustrates some poetry books by his father-in-law, Hernán Laborde. He discovers the work of European sculptors Henry Moore, Henri Gaudier-Breszka and Frits Wotruba. 

1955-1956
He starts the preparation of the Freedom Monument commissioned by the El Salvador government. He acts as a jury at the exhibition New Values of the Mexican Plastic Arts Salon. He publishes new articles in Public Art (Arte Público). He discovers the book The esthetics of proportion in nature by Matila Ghyka and he will use it during his teaching at la Esmeralda. His daughter Marcela is born.

For six months he works in El Salvador executing the Freedom Monument, accompanied by a group of Mexican stonecutters. He also presents a show of drawings and sculptures at the Clementina Suárez gallery at that country.

1957
He participates at the annual sculpture show in Mexico City obtaining the acquisition prize with his work Hammock carved in Xaltocán Stone. This piece is an important step in his personal development. The Fine Arts National Institute acquires two stone pieces located today at the Aguascalientes Museum: Girl with guitar and Indian mother. During that year he travels for the first time since his arrival to Mexico to his born country, invited by the University of Costa Rica for an unrealized project.

1958
He collaborates with Fernando Gamboa, executing some pre-Columbian and colonial reproductions for the exhibition Masterpieces of Mexico, at the Mexican pavilion of the Universal Exhibition in Brussels, Belgium. Hammock will also participate at that exhibition. He presents sculpture during the Mexican Modern Art Museum opening exhibition and at the Mexican Plastic Arts Salon to celebrate the I International Biennial of Painting and Sculpture. He produces the group Nuevo Laredo founders which is at the International bridge of that city. He travels to El Salvador, as jury at the sculpture competition organized by the local Fine Arts Museum. He is named director of the sculpture department at la Esmeralda. He teaches during the summer course at the Mexican University. He collaborates with architect Enrique Yáñez, in the relief for the elevator boxes of the Medical Center buildings. Two of the reliefs are based on drawings by Alberto Beltrán. The project requires large dimensions and the least weight possible, which conduct him to experiment cast in aluminum. The project was never completed as planned and the results are not completely satisfactory, nevertheless they resist the 1985 strong earthquake and they survive.

1959
He enters the Mexican Painters, Sculptors and Engravers Union with Juan O’Gorman, Carlos Orózco Romero, Jesus Guerrero Galván and others. He participates as jury at the V Cultural National Competition in El Salvador with Carlos Mérida.

1960
He participates at the first National Sculpture exhibition in Mexico obtaining the acquisition prize with the sculpture Woman from Southeast today at the Aguascalientes Museum. He also obtains the 1st prize at the 2nd Inter-American Biennial of painting, sculpture and engravings. He is included in the Modern Sculpture Dictionary published by Hazan, in France. During a two years period he experiments painted ceramics at the Luisa Reynoso ceramics oven.

1961-1963
During this period, he is mainly dedicated to the Federal Government monuments and abandons temporarily the stone carving, working in plaster by methods he develops personally. He works in a series of Crouching Nudes, important steps in his search.

1964
He participates in a collective exhibition of Mexican Artists at the Phoenix Art Museum, which brings as a consequence his first individual exhibition in the United States. He executes the fountain groups for the New Chapultepec in Mexico City: Nuclear physics and Young women running, as well as a group for National Polytechnic Institute. He acts as jury in the second biennial of sculpture and teaches during the summer course at the University of Mexico. He obtains the prize Aquileo J. Echeverría from the Costa Rica’s government and he has an individual show at the Ministry of Education in that country. He is named member of the Literature Art and Science authors from Costa Rica.

1965
The Phoenix Art Museum acquires several sculptures in bronze for its permanent collection. He is included in the book Alive Stones by Mario Monteforte. He works in the Don Vasco de Quiroga statue for the city of Pátzcuaro, Michoacán and a large figure of a man emerging from the earth in Campeche. Bernard Lewin Gallery in Los Angeles, Ca. presents an individual exhibition of his work.

1966
He has individual exhibitions in Scottsdale, Arizona and San José, Costa Rica. He also participates in the collective exhibition Mexican School at the Modern Art Museum, Mexico. He acts as a jury in a competition organized by the Mexican Club of Photography. He executes Standing solitude and Standing Juchiteca, important steps in his development. This last piece belongs to the permanent collection of the L.A. County Museum in Los Angeles, Ca.

1967
His first trip to Europe (Spain, Italy, France, and Holland) from which he said it confirms the validity of his point of view and esthetical position.

1969
The first large retrospective of his personal work takes place at the Modern Art Museum, in Mexico City. Misrachi Editions publish the first monograph of his work.

1970
An individual exhibition at Tasende Gallery in Acapulco starts his collaboration with José Tasende.

1971
The San Diego Fine Arts Museum presents an individual exhibition of his work. He participates at the XI International Biennial at the Middleheim Open Air Museum, Antwerp, Belgium. He obtains the acquisition prize for his work The Doorway a bronze relief. He retires from teaching at La Esmeralda.

1972
There are individual exhibitions at Fresno University Gallery and Saisset Gallery also in Fresno. At the Phoenix Museum entrance of its new building the relief The Doorway is installed. San Diego Fine Arts obtains the work Seated Mother and daughter from a private donation.

1973
Individual exhibitions at Santa Barbara Museum, Weintraub Gallery, New York, Collectors Art in Mexico ant the Pro-culture society from El Salvador. He works in his first lithographs in San Francisco, California with Editions Press in the project: Mexican Masters Suite, including works by Jose Luis Cuevas, Rufino Tamayo and David A. Siqueiros. The San Diego Fine Arts acquire Young Woman Nude for its permanent collection. He travels to Costa Rica to prepare a large project Agriculture Monument. The book Francisco Zuniga Woodcuts, by Luis Ferrero is published in Costa Rica and the author also includes Zuniga in his book Costa Rican Sculpture.

1974 
He executes a series of lithographs of Mexican women at Kyron Editions with the lithographer Andrew Vlady. There are lithography exhibitions at Phoenix Museum and Tasende Gallery. During a collective show of Contemporary Mexican Art, he exhibits for the first time in Japan, Tokyo and Kyoto. He receives the Magon prize 1973 the highest Costa Rican Art award. He acts as a jury at the Painting national section of Costa Rica. Second trip to Europe. The Ponce Museum from Puerto Rico acquires the piece Seated woman.

1975
Misrachi Gallery publishes the portfolio 20 drawings with offset reproductions. This work obtains the silver medal at the International book exhibition in Leipzig, Germany. He continues working with lithographer Andrew Vlady. UCLA sculpture garden receives Reclined nude as a donation. Washington Hirshhorn Museum acquires two bronzes: Seated Juchiteca and Crouching Woman with Shawl. As well as the onyx Crouching Nude. There are exhibitions at the National Library in Costa Rica, Harcourt Gallery in San Francisco and Alexis Gallery in El Salvador.

1976
There are individual exhibitions at the Basel Art Fair in Switzerland and at the Rubicon Gallery in California. The Mexican embassy in Costa Rica establishes a permanent showroom with his drawings. He starts the Agriculture Monument located at the exit of the International airport in Costa Rica.

1977
The Mexican Museum of San Francisco receives a bronze piece as a donation and the Museo Biblioteca Pape in Monclova, Mexico acquires a bronze. There are individual exhibitions at the Oakland Museum in California at the De Cordoba and Dana Museum, in Massachusetts at the Everson Museum in Syracuse, at the Basel Art Fair and at the Sindin Galleries in New York.

1978
Individual exhibitions: Tucson Museum, Arizona, La Jolla, California and Santa Barbara Museum. He exhibits lithographs at Brewster Gallery, New York. He participates in the XX Century sculptors at the Hirshhorn Museum gardens in Washington. He finishes the Agriculture Monument and The Family for public spaces in Costa Rica.

1979
There are individual exhibitions at the Art Center in Salt Lake City, the Sindin Gallery in New York, the Tasende Gallery in La Jolla, California at the Bel’Art gallery in Stockholm, Sweden and at the Moos Gallery in Toronto.

He travels to Carrara, Italy, where he starts carving marbles directly in site. He visits Giacomo Manzú studio in Ardea. The Tucson University acquires a bronze piece and the Houston and Yale Universities acquire bronze sculptures too.

1980
He starts working in lithography at Mourlot Atelier in Paris and continues carving marble in Carrara, Italy. The Tucson University in Arizona publishes the book, Francisco Zuniga, sculptor: conversations and interpretations, by Sheldon Reich. The Misrachi Editions in Mexico publish a complete monograph about his work. The Harvard University Museum and San Jose Museum acquire bronzes. The UCLA sculpture garden receives a second bronze as a donation, Mother with child at her hip. There are individual exhibitions at the D’Endt Gallery in Amsterdam and Carpentier Gallery in Paris.

1981
He travels in Egypt and realizes a lithography portfolio with that subject at Mourlot Ateliers in Paris. He is named Gold medal Academic by the Accademia delle Arte e del Lavoro, in Parma, Italy. He works in lithographic workshops from Zurich and Barcelona. The New York Fordham University acquires the bronze Elena. He participates at the 5th exhibition of small sculpture in Budapest and presents a lithograph at the XV biennial of graphics in Ljubljana, Yugoslavia. He exhibits at the Levy Gallery in Hamburg, Germany and at the Waddington Gallery in London. He visits Henry Moore at his studio. His first granddaughter, Laura, is born.

1982
There is an individual exhibition at the Honolulu Museum. He is invited as a jury at the IVth sculpture exhibition in Colorado, U.S.A and he teach a special course there. He obtains the Elias Sourasky prize in Mexico. The Brewster Editions, from New York, publish the book Francisco Zuniga by Jacques Lassaigne. The London Barbican Center exhibits two pieces during its inauguration. The Los Angeles mayor set up November 19th, 1982 as the Francisco Zuñiga day. His grandson, Arno, is born. 

1984
He participates at the 3rd Sculpture Biennial in Japan and obtains the Kotaro Takamura prize, with his work Group in front of the Sea. He works in a group of sculptures Three Generations, for a park in Sendai City, Japan, as part of that city’s sculpture project with the participation of sculptors from all over the world. 

1985

The National Museum of Costa Rica opens a large show with the private collection of Daniel Yankelewitz including works from 1924 to 1935. The Costa Rica Editorial house publish a book: Zuniga, Costa Rica, (Daniel Yankelewitz collection) by Luis Ferrero.

1986
He becomes a Mexican citizen after fifty years living in the country. Invited by the French government he exhibits individually at the Musée de l’Orangerie and Jardin des Tuilleries in Paris, as well as at the Braux-St-Cohière Castle in Ardennes, France. He also exhibits lithographs at the Mexican Cultural Center in Paris and at the Carpentier Gallery in the same city.

1987
He becomes a member of the Academy of Arts, Mexico. There are individual exhibitions at the Regional Museum in Guadalajara (Mexico) and at the Museo Biblioteca Pape in Monclova (Mexico).

1988
He goes under surgery for a cancer of the sinus and he spends several months in New York. His last granddaughter, Mariana, is born.

1989
The Sendai sculpture city in Japan exhibits works by all the participants in their sculpture promotion: Giacomo Manzú, Emilio Greco, Churyo Sato, and Francisco Zuniga. 

1990
Facing the imminent loss of his sight, he starts working in high temperature ceramics at the Juan Sandoval sculptor oven. The San Francisco Museum organizes a show with local collector’s works by Zuniga.

1991
May 16th, he receives in Los Angeles, California the award The Ángel from the Bilingual Foundation for the Arts.

1992
December 18th, he receives the National Award for the Arts in Mexico. The Seated Juchiteca participates in the homage exhibition to Juchiteca at the MUNAL Mexico City.

1993
His health condition prevents him to continue working.

1994
There are two large retrospective exhibitions, one at the Communications and Transports Ministry of Mexico City, as a homage to the 40th year of the building’s construction and the relief from Zuniga in the façade. In May a National Hommage takes place at the Palace of Fine Arts in Mexico City. In August, there is also an exhibition at the Mexico City Airport Gallery.

1995
There is an exhibition at the Contemporary Art Museum of Oaxaca, by invitation of the painter Francisco Toledo.

1996
Invited to the 1st honor salon of the X Ibero-American Art Biennale, he receives the Goya medal from Domecq Cultural Institute.

1997
There is an exhibition at the Colegio de Sinaloa, Mexico, and from September to November a show of his drawings and sculptures is held at the Archbishop Museum in Mexico City. The exhibition room for the blind of that museum is named Francisco Zuniga.

1998
There is an exhibition at the Cultural center of the Mexican embassy in San Jose, Costa Rica and an exhibition is held at the Meredith Kelly Latin American Fine Art Gallery in Santa Fe, New Mexico. He dies on August 9 at his house in Mexico City.

1999
February: Exhibition at the Costa Rican center of Culture and Science. August: Collective exhibition Identity and Volume, Mexican sculpture from 1910 to 1950 at the Pontevedra museum in Spain.

2012
Exhibition at the National Museum of Art (Mexico). Exhibition at the Ernst Barlach Foundation (Güstrow, Germany) which produces a catalogue.

1965 – Scottsdale, Arizona, USA.

1966 – Scottsdale, Arizona, USA.

1969 – Modern Art Museum of Mexico

1970 – Fine Arts Gallery of San Diego, California, USA.

1972 – Phoenix Art Museum y University of Santa Clara, California.

1973 – Santa Barbara Museum, California.

1974 – Phoenix Art Museum, Arizona.

1977 – Everson Museum, Syracuse, NY, USA. De Cordoba y Dana Museum, Lincoln, Mass. USA.

1978 – La Jolla Museum, California. Brewster Gallery, New York. Santa Barbara Museum of Art, California. Tucson Museum of Art, Arizona, USA.

1979 – Salt Lake City Art Center, Utah, USA. Gallery Bel Art, Stockholm, Sweden.

1980 – Galerie D’Endt, Amsterdam, Holland. Galerie Carpentier, Paris, France.

1981 – Galería de Arte Misrachi, Mexico. Gallery Theo Waddington, London. Gallery Levy, Hamburg, Germany.

1982 – Honolulu Academy of Arts, Hawaii.

1983 – Sindin Gallery, New York.

1985 – Contemporary Sculpture Center, Tokyo, Japan. National Museum of Costa Rica. Daniel Yankelewitz collection, works from 1924 to 1935)

1986 – Tuilleries Garden, Orangerie, Paris, France. and Braux-Ste-Cohiere, France.

1987 – Regional Museum of Guadalajara and The Pape Museum-Library, Monclova, Mexico.

1990 – Mexican Museum, San Francisco, California. Brewster Gallery, New York City. Sindin Gallery, New York City.

1994 – Exhibition at the Communications and Transports Ministry. National Homage at Palace of Fine Arts, Mexico City. Airport Gallery, Mexico City.

1995 – Oaxaca Contemporary Museum.

1997 – Sinaloa College, Mexico. Museum of the Archbishop, Mexico.

1998 – Meredith Kelly Latin American fine arts, Santa Fe, New Mexico.

1998 – Lithographs, Cultural Center of the Mexican Embassy, San José, Costa Rica.

2002 – Sculptures & Drawings, Jack Rutberg Fine Arts, Los Angeles, California

2004 – Sculptures & Drawings, Jack Rutberg Fine Arts, Los Angeles, California

2007 – Sculptures & Drawings, Jack Rutberg Fine Arts, Los Angeles, California

2010 – Sculptures & Drawings, Jack Rutberg Fine Arts, Los Angeles, California

2012 – Sculpture, Drawing, Lithograph. Barlach Stiftung, Gustrow, Germany (September 27th – February 17th), 2013

_____ – Lovers (Sculpture, Drawing) San Carlos Museum / Arts Academy. October 12th / November 12th

_____ – Francisco Zuñiga, Body and Territory. (Sculpture, Drawing, Oil Paintings) MUNAL Mexico, December 5th, 2012 / February 20th, 2013

2013 – Francisco Zuñiga A Centennial Tribute June 1st – September 14th, 2013

2018 – Francisco Zuñiga Sculpture and Drawing Jan 20th / April 28th, 2018

1931 – First painting prize and 2nd sculpture prize at the National Exhibition of Plastic Arts, San José, Costa Rica.

1935 – First sculpture prize, National Exhibition of Plastic Arts, San Jose, Costa Rica.

1957 – Unique prize, Annual sculpture salon, Plastic Arts Organization of Mexico.

1960 – Tresguerras award, 1st National exhibition of sculpture, Mexico. 1st prize «Diego Rivera», II International Biennale of painting, sculpture and engraving, Mexico.

1971 – XI Biennale of sculpture acquisition award Open Air Museum, Middleheim, Antwerp, Belgium. Work: relief El Umbral (The doorway, bronze).

1974 – National Prize for Culture «Magón 73», San Jose, Costa Rica.

1977 – Silver Medal at the Internationale Buchkunst-Ausstellung, Leipzig (Germany) to the Zúñiga 20 Drawings Portfolio.

1981 – Nomination as Academician, Parma, Italy. (gold medal)

1982 – Chancellor’s Award, UCLA, Los Angeles, California. Tom Bradley major of Los Angeles created the «Francisco Zuniga day», «Elías Sourasky» award, Mexico.

1984 – Great prize Kotaro Takamura, III International Sculpture Biennale, Japan.

1991 – El Ángel award, Bilingual Foundation for the Arts, Los Angeles, California.

1992 – National Award for the Arts, Mexico. 1996 Goya gold medal from the Domecq Foundation.

1996 – Goya Gold Medal from Domecq Foundation.

1961 – Francisco Zuniga, by Lyta Zuniga Oreamuno de Peña, Fine Arts Academy of the Costa Rica University. (unpublished).

1969 – Zuniga, by Alí Chumacero. Misrachi Editions. Mexico.

1973 – Grabados en Madera de Francisco Zuniga, by Luis Ferrero A, Editorial Lehman, Costa Rica.

1980 – Zuniga, by Carlos Echeverría. (English/Spanish, Misrachi Editions, Mexico.1980. Francisco Zuniga, sculptor, conversations and interpretations by Sheldon Reich, The University of Arizona Press, Tucson, Arizona, USA.

1982 – Zuniga, by Jacques Lassaigne, Brewster Editions, New York/Paris.

1984 – Zuniga, The Complete Graphics (1972-84) by Jerry Brewster and Burt Chernow. Alpine Fine Arts Editions, New York, USA.

1985 – Zuniga, Costa Rica. (Daniel Yankelewitz collection) by Luis Ferrero A, Editorial Costa Rica.

1986 – Zuniga, by Marcel Paquet, Editions de La Difference, collection L’autre musée, Paris, France.

1989 – Zuniga, the sensible abstraction, by Marcel Paquet. El Equilibrista Editions, Mexico.

1994 – Francisco Zuniga, various authors, Catalog for the National Hommage, Palace of Fine Arts, Mexico City. Equilibrista/Turner Editions, Mexico/Spain.

1999 – Catalog Raisonne, Volume I, Sculpture 1923-1993, by Ariel Zuniga. Albedrío / Sinc S.A. de C.V. (México) in association with the Fundación Zuniga Laborde A.C. (México)

2001 – Francisco Zúñiga Travel Sketches 1. by Ariel Zúñiga. Albedrío (Sinc S.A. de C.V. / Fundación Zúñiga Laborde A.C.) México

2002 – The work of Francisco Zuniga, Canon of American Beauty by Ida Rodríguez Prampolini. Albedrío / Sinc S.A. de C.V. (México) in association with the Fundación Zuniga Laborde A.C. (México)

2003 – Catalog Raisonne, Volumen II, Oil painting, Prints & Reproductions 1927-1986, by Ariel Zuniga & Andrew Vlady. Albedrío / Sinc S.A. de C.V. (México) in association with the Fundación Zuniga Laborde A.C. (México)

2006 – Catalog Raisonne, Volumes III & IV, Drawings 1927 – 1970 / 1971 – 1989, by Ariel Zuniga. Albedrío / Sinc S.A. de C.V. (México) in association with the Fundación Zuniga Laborde A.C. (México)

2012 – Francisco Zuniga & Pre-Colombian Art (Daniel Yankelewitz collection) 1934-1936, Improsa Bank, Costa Rica by Luis Ferrero Acosta.

2015 – Francisco Zuniga Desde el umbral / From the Threshold por/by Ariel Zuniga Albedrío, (Sinc S.A. de C.V. / Fundación Zuniga Laborde A.C.). México.