[1] Barber first gained acclaim through his low-tech video pieces composed of found footage which he deconstructed in an effort to display them as contradicting their intended purposes,[2] many of which become a 'deft reworking of cinematic narrative and cliché'.
[4] Many of Barber's Scratch works including Absence of Satan, 1985 and Yes Frank No Smoke, 1986 are seminal to the history of British video art.
[8] Engaging with current issues and debates in his work, The Freestone Drone, 2013 and Fences Make Senses, 2015 'Barber's way around art's potential political inefficacy'[9][10] is to redefine the terms as to the artist, art is a reaction and reflection of the world and the effort to see this reality without veils is an achievement in itself as it allows room for rethinking with less bias and contemplation of a neutral alternative.
[12] In 2015, the artist had three solo exhibitions at Chapter Arts Centre in Cardiff, Young Projects in Los Angeles and waterside contemporary in London.
He also returned to his early roots making new purely visual works combining analogue and digital CGI, Video Marilyns Andy Never Thought of is the first result of this new direction.