Lorraine Garcia-Nakata (born 1950) is an American artist who works with various mediums including pastel, charcoal, ceramics, printmaking, installation, sculpture, and paint. Her work surrounds themes of the daily life, portraiture, and realism and is known for her large scale artworks. She is a member of the Royal Chicano Air Force (RCAF) artist collective since 1974.
 Garcia-Nakata was born in Yuba City, California as the third generation in her family to reside in the United States. Her maternal grandparents Basilio Prado and Juanita Montes Muños, came to the United States in 1914, during the Mexican Revolution. Lorraine grew up in the Central Valley and identifies as Chicana. Lorraine lived in Oroville, California before moving to Olivehurst, California.
Lorraine earned an Associates of Arts Degree from Yuba College, in Marysville, CA in 1973. She transferred to California State University, Sacramento as an Art major and graduated with honors in 1974. In 1976, Lorraine was accepted into the art department of the University of Washington, Seattle as a sculpture major and on the Dean's List. She was hired at the University, Henry Gallery, where she met (now deceased) Curator, Lamar Harrington initiating Lorraine's museum knowledge and expertise. During the period (1970-1979) she and her partner "lived-on-the-land" made home in Eastern Washington, she also did independent study, as an apprentice with now deceased master potter, Everett Lynch(1898-1988). Here, she also apprenticed in weaving (counter-balance loom) with Everett's spouse, Dorothy. Mr. Lynch approached Lorraine about carrying on his studio, however Lorraine would be making a move accepting a position teaching ceramics and drawing at Moses Lake College, Moses Lake, Washington. Art Department Chair, Stephen Tse wanted her to become Chair when he retired, however it was at this time Lorraine made a major decision by returning to California in August 1979. This began a new life chapter as the following biographical information shares.
 Garcia-Nakata is currently part of the Chairman's Advisory Committee at the Friends of National Museum For the American Latino since 2017. She is a founding member of the San Francisco Latino Historical Society since 2015. In 1997 she became part of the International Advisory for the Diego Rivera Mural in San Francisco City College and in 1995 she was an Advisory Board member for the Kearny Street Art Workshop, also located in San Francisco.[citation needed]
 The famous multi panel mural project in Sacramento, California was restored in 2001 by the RCAF group, including Garcia-Nakata who designed, outlined, and painted two Amerindian women with their hands open. These murals provide a culturally appropriate setting for community events such as Cinco de Mayo, Dia de Los Muertos, or the Barrio Olympics.[according to whom?] Each panel has its own distinctive artistic style and make references to pre-Columbian, Neo-Amerindian, and Chicanx youth iconography.[citation needed]
 This artwork is done with charcoal and pastel on paper and was exhibited online at the Museo Eduardo Carrillo website. It represents the artist herself and her African American friend playing hide and seek, while standing back to back and blindfolded.[according to whom?] It references the racial tension that has existed throughout American culture and personal experiences of the artists.[according to whom?][citation needed]
 This diptych consists of two unidentified women with their backs towards the viewers dressed in complete different attire. Colonia has a blue formal dress on completely faceless, while Indigena is slightly turned towards her left shoulder wearing her indigenous attire and long braided hair. Both of these women are assumed to come from different backgrounds and their juxtaposition makes it easier for viewers to distinguish this cultural gap between them.[according to whom?][citation needed]