Pedro Sanjuan thrived as a rebel for over two-and-a-half decades in seven federal government departments during seven presidential administrations. He served two tours of duty on the White House staff and was a senior US representative to two major international organizations. Sanjuan consistently made trouble — first as a Democrat — then as a Republican — and finally as an international negotiator.

His remarkable success at "re-engineering" large parts of the US government (before the term became fashionable) was recently documented in the Journal of American History.  Sanjuan’s public service career has been paralleled by prolific creative work as a fine artist. His art has been presented by several art galleries, recognized by the Cosmos Club (Washington’s intellectual Mecca), hung in the Corcoran Gallery of Art, and sold at auction, including at Christie’s, New York.

A protégé of the late Senator Robert Kennedy, who praised, heckled and encouraged him, Sanjuan dismantled the State Department’s racist-oriented foreign policy, then proceeded to drive the crooks out of the Inter-American Development Bank. He went on to negotiate a U.S. proposed international chemical warfare ban in the Defense Department while he also forcefully removed the U.S. Navy from target practice on the inhabited island of Culebra.  While in the Arms Control Agency, Sanjuan helped disseminate the model arms control initiatives we use today, then, on the White House staff, was instrumental in promoting the new Panama Canal Treaties. He was named a Fellow at the American Enterprise Institute and directed their non-proliferation of nuclear weapons initiatives and created the AEI Hemispheric Center. Sanjuan promoted the establishment of three new nations in the Pacific as Assistant Secretary of Interior and was subsequently appointed as a top-ranking American  — by Vice President George Bush and Jeane Kirkpatrick — charged with mapping the vast Soviet intelligence gathering operation inside the United Nations Secretariat.

His creative activities have intensified in recent years, and he has authored a number of satirical fables, copiously illustrated, and several book-length lampoons on cloning, aging, espionage, and the apocalypse. His whimsy has resulted in a series of illustrated children’s fables featuring lions, snakes, buzzards, and scorpions — who all learn to tolerate each other’s annoying idiosyncrasies.

Sanjuan has created several sequences of graphic works – including etchings of large dimension and generous detail — which, in addition to his paintings, sculptures, games and constructions, are best subsumed under the category of "maximalist art."

His journalistic writings and op/ed articles regularly appear in major periodicals and newspapers, including The Washington Quarterly, The New York Times and The Wall Street Journal and in publications in the UK, Eastern Europe and Russia.