[1] She uses everyday materials such as used tires, other car parts, and chewing gum, significant in colonial history and representative of global urban consumption.

[4][5] Her work reflects on issues of social importance such as human migration,[3][5][6] gender roles,[7] cultural traditions,[3] religiosity[7] and miscegenation.

[14] Natural rubber comes from the milky sap of Hevea brasiliensis, a tree that is indigenous to Brazil[15] and cultivated throughout South America and South-east Asia.

[16] Through clever inversions of meaning and material, Romero's works question the way in which modern industry appropriates and transforms natural elements such as clay, rubber, and gum for mass production.

[19] A ten-year retrospective including 103 pieces of her work, Betsabeé Romero: Lagrimas Negras (Black Tears) was curated by Julián Zugazagoitia and shown at the Museo Amparo in Puebla, Mexico (2007–2008).

[1][2][23] El Vuelo y Su Semilla (The Flight and Its Seed) examined interplaying themes of migration, colonization, food and traditional culture.

[24] Trenzando raíces (Braided roots) at the Art Gallery of York University, Toronto, Ontario (2018) was developed in collaboration with indigenous women from New Credit First Nation.

Movilidad y tensión (Mobility and tension) stacks eight-halves of tires, engraved with a blend of Islamic and European designs reminiscent of Mudéjar symbols from ancient Spain.

In En cautiverio (In captivity) slender steel columns hold up two tractor tires, whose surfaces are painted with intertwining serpents.

Movilidad en suspenso (Mobility in suspense) is an assembly of four tractor tires whose treads are decorated with traditional Mexican patterns.

[34] Hanging paper banners printed on papel picado[34] were placed in the Round Reading room, and marigold serpents wound their way up the stairs.

[35] 103 trajineras were decorated as offerings to commemorate those who had died during the year and to connect their deaths to social conditions and problems of Mexico City.

[37] Los huesos tienen memoria (Bones have a memory) at the Museo Dolores Olmedo (2016–2017) was dedicated to the almost 28 thousand missing persons registered by the Mexican federal government.