[12] Kac also created various terms to describe his transdisciplinary art practice, including biorobotics (functional merger of robotics and biotechnology), plantimal (plant with animal genetic material or animal with plant genetic material), and transgenic art (the expression of genes from one species in another in an artwork).

[11] Early notable works include "Genesis" (1999), where Kac translated a Genesis line into morse code and subsequently into DNA base pair and "GFP Bunny" (2000), where an albino rabbit was genetically altered with a jellyfish gene, causing it to emit a green glow under specific light conditions.

This piece ignited extensive debates on the ethical implications of altering life forms for artistic purposes.

Working under the extremely conservative political climate of Brazil under a military dictatorship, Kac and other Movement members, such as Glauco Mattoso, Leila Míccolis, and Hudinilson Jr., developed the new body-centered aesthetics collectively until 1982.

[22] In 1985 he contributed one such work, Reabracadabra, to the Arte On Line exhibition, organized by the Livraria Nobel bookstore in São Paulo.

[6] In the 1990s, Kac continued creating telematic works, with Dialogical Drawing (1994)[34] and Essay Concerning Human Understanding (1994) both using networks to explore the viewer experience of an artwork mediated between two sites in real time.

[35] The inclusion of a bird and a plant as part of an interactive system is an early example of what Kac called interspecies communications.

[36] In 1996, Kac's space artwork Monogram was included in the DVD that flew to Saturn mounted to the side of the Cassini spacecraft.

[4] In Teleporting An Unknown State (1994), Kac built a system that allowed a plant to survive in a gallery, illuminated not by direct sunlight but by the action of local or remote viewers of the work.

In practice, local or remote viewers of the work selected from a set of webcams facing the sky of distant cities.

A participant in Chicago then triggered the RFID scanned in the Brazilian gallery where Kac was performing, causing the scanner to display a unique code for the implant.

[46] Kac's next transgenic artwork, created in 1998/99 and titled Genesis, involved him taking a quote from the Bible (Genesis 1:26 – "Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth"), transferring it into Morse code, and finally, translating that Morse code (by a conversion principle specially developed by the artist for this work) into the base pairs of genetics.

[64] GFP Bunny appeared in Big Bang Theory,[65] Sherlock,[66] and Simpsons,[67] and in novels such as Oryx and Crake, by Margaret Atwood,[68] and Next, by Michael Crichton.

[69] His work Natural History of the Enigma (2003–2008) continued in the theme of bio art by merging his DNA with that of a petunia, creating a hybrid organism that Kac called a plantimal.

Adsum is a glass artwork with four visual symbols internally laser-engraved in three dimensions and is meant to exist in the lunar environment.

The piece centered around Alba, an albino rabbit that was genetically engineered by incorporating the green fluorescent protein (GFP) from a jellyfish into her genome.

Some critics and animal rights activists raised concerns about the ethical implications of such genetic manipulation purely for the sake of art.

[49][50][53][57][52] Kac's later project, "Inner Telescope", created inside the International Space Station (ISS), stirred debate of a different kind.