She is known for blending cinematic genres to explore the larger sociopolitical significance of the everyday moments of her subjects' lived experience.

[citation needed] Her debut feature-length film, Below Dreams, premiered at the 2014 Tribeca Festival and followed the lives of three people in reverse migration from north to south, in pursuit of a fresh start.

Bradley was noted for her lyrical, hybridized filmmaking style described by New York Magazine's Bilge Ebiri as “a slow-burn beauty...improvisatory, glancing, gorgeous and as much about the textured quality and imagery as it is about character development or class conflict.”[8] Below Dreams was cast almost entirely from Craigslist; an approach Bradley took after having no luck working with traditional casting directors in New Orleans.

[citation needed] In 2017, Bradley co-founded Creative Council, an artist-led after-school program which was aimed at developing strong college portfolios and applications for students attending public high schools in New Orleans.

The film depicts Watts' everyday life as she considers her future with her boyfriend; Fox Rich, protagonist of Time, appears in the short.

[12] In 2021, Alone was included in Grief and Grievance: Art and Mourning in America, an exhibition originally conceived by Okwui Enwezor for the New Museum.

[16] Projects: Garrett Bradley opened November 21, 2020 at the Museum of Modern Art, and was organized by Thelma Golden and Legacy Russell.

Roberta Smith of The New York Times wrote of the show “Bradley’s ambitious effort adds new energy to both Post-Minimalism and Pictures Generation appropriation art….Punctuated by the high-spirits and faster speed of “Field Day,” Bradley’s “America sets us in motion, circling the screens, exploring the possible identities, stories and symbols of its shifting stories and their regular moments of aural and filmic lyricism.

Future.” In The New York Review of Books, the author Maya Binyam wrote “Since the release of America, Bradley has joined the ranks of archivist-artist, figures whose mission is often said by critics and curators to be a corrective to the archive’s irredeemable deficiencies.

[24] Also, in 2022, Bradley and artist Arthur Jafa, collaborated on a split screen film installation a Negro, a Lim-o, which was commissioned for MoMA's exhibition Just Above Midtown: Changing Spaces.