The work refers to the 1990 assassination of the academic and women's rights activist Bahriye Üçok, while suggesting a critique of Turkey's neo-Ottomanist tendencies, militarized nationalism, and religious devotion.
Produced in collaboration with the musician Serdar Ateşer, Decent Deathwatch: Bosnia-Herzegovina (1993) is an installation with 800 water-filled glass jars that feature images and texts about Bosnia, drawn from the international media.
In the installation, the militaristic environment is juxtaposed with romantic landscape photographs and music coming from the radio placed in the hut, evoking a sense of confinement and isolation.
[17] Darkened with thick curtains, a dining room features a radio that narrates a football match and a news broadcast;[18] a bedroom hosts a desk and schoolbooks of the period; and a closet presents a stack of vintage clothing.
Beirut (2005–07) is a video work showing the facade of the Saint-Georges Hotel in Beirut—an abandoned building that was severely damaged during the civil war in Lebanon.
[21] Produced in collaboration with the musician Serdar Ateşer—Tenger's long-term collaborator—Balloons on the Sea (2011) is a video piece that features balloons floating on the water, ready for a pastime activity of shooting.
Commissioned by Alserkal Programming in Dubai, Under (2018) is a public art installation where viewers walk in to a free-standing structure that hosts a tree with a net.
Her solo exhibitions include Where the Winds Rest, Galeri Nev, Istanbul[28] (2019); We didn't go outside; we were always on the outside/ We didn't go inside; we were always on the inside, Protocinema, New York[12] (2015); Swinging on the Stars, Galeri Nev, Istanbul (2013); Perspectives: Beirut, Smithsonian Institution, Washington (2011); Balloons on the Sea, Green Art Gallery, Dubai (2011); Never Never Land, Mannheimer Kuntsverein, Mannheim (2001); and The Closet, ArtPace, San Antonio, Texas (1997).