Alicia Fingerhut studied Fine Art at the University of Barcelona and at Escola Eina, also in Barcelona. In her earlier conceptual phase as a member of Grup de Treball (1973–76), she was part of a generation of feminist artists, pioneers in Spain at the time, such as Sívia Gubern, Àngels Ribé, Fina Miralles, Eugènia Balcells and Eulàlia Grau. In her conceptual practice, she performed a series of everyday actions focused on her own body. The actions consisted of taking an object out of its usual context, observing the passage of time by staring at the sea and the sky, relating the body to the different cardinal points, standing in the middle of a busy street or a beach, experimenting the movement of the body in relation to a chair or recording the movement of the lips in a sequence of twenty-eight photographs. In 1977, Fingerhut returned to painting, while also working as a graphic designer and illustrator for Editorial Tusquets. Of special interest during those early years is her graphic work using material from the mass media at a time when photocopies were commonly used in Conceptual art. Besides their formal exploration, the press images she uses establish a dialogue between the private register of the dream world and the public image we project of ourselves. Over the years, Fingerhut prioritised family care, stepping away from the art world.

She took part in multiple collective actions, most of them with Grup de Treball: 2^nd Young Artists Competition, Granollers (1972), pelota court of the Muntadas family in Vilanova de la Roca (1972), Llotja del Tint, Banyoles (1973), Catalan Summer University, Prada de Conflent (1973), and garden of the Escola Eina, Barcelona (1974). Her last solo exhibition was at Sala Vinçon, Barcelona (1981). Her work has recently been revived by being included in group exhibitions at the Museu Nacional d'Art de Catalunya (2018), Museo de Arte Contemporáneo de Castilla y León (2019) and MACBA, Barcelona (2025).