His work was published in many leading fashion magazines: VOGUE, Harper's Bazaar, ELLE, Marie Claire, Cosmopolitan and the Sunday Times Style.

The collective exhibited internationally for the first time in 1989 with a solo show at Howard Yezerski Gallery in Boston, and a performance at the Carpenter Center at Harvard University in Cambridge.

Together, all three projects premiered as The Liminal Space Trilogy in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city.

[citation needed] AES+F have exhibited at numerous international festivals: (namely the biennales of Venice, Lyon, Sydney, Gwangju, Moscow, Gothenburg, Havana, Tirana, Istanbul, Bratislava, Seoul etc.

[8][9] On 22 April 2022, they publicly denounced the Russian invasion of Ukraine, declaring "The Putin regime continues to commit war crimes, destroying Ukrainian cities, killing thousands of people, depriving millions of their homes, families and futures".

In one of the images, the artists transformed the Statue of Liberty to show her in a Burka, holding a Quran; in another, they prophetically depict the New York skyline absent of the Twin Towers.

[12] In 2000, AES+F created another installation in the form of a Bedouin tent titled "Oasis", consisting of a series of traditional carpets, each with imagery from the Islamic Project printed on silk in the center.

[citation needed] The King of the Forest is a trilogy of projects inspired by Erlkönig, the Ogre - a mythological creature of medieval Europe and also the subject of an eponymous novel by Michele Tournier.

It is set respectively in a video game landscape, an exotic luxury resort, and a futuristic airport, each of which is depicted as a unique surrealistic fantasy that explores contemporary themes.

[2] The work depicts an imagined future digitally manipulated where snow-capped mountains sit next to desolate beaches, neon dragons rest atop oil platforms, planes collide without flames, and a band of attractive teens with completely ambiguous and detached facial expressions are engaged in ritualistic battle with one another and with themselves.

[20] The guests of the hotel indulge in all of the contemporary pleasures perpetuated in advertisements of resort getaways, from leisurely fitness to "body purification," while the viewer sees any notion of social hierarchy dissipate as the masters begin to court the servants, acting out their fantasies of a Roman Saturnalia.

As the travelers enter dream-like states, the airport and the aircraft undergo several metamorphoses, while the landscape and the climate go through four phases - from being a snowy field to a desert, a jungle, and finally becoming an endless river Styx.

[16] Allegoria Sacra weaves complex global issues into visually compelling metaphors, letting them unfold in the neutral transitory space of an airport, where all kinds of things can temporarily coexist before going to their destination.