[1] Benoh's lifelong efforts to break the confines of geographical, cultural, and social boundaries, as he lived across four continents, seeking personal freedom and redefining identity, gave way to a wide range of works.

[2] He has worked in painting, sculpture, drawing, two- and three-dimensional construction, traditional and digital printmaking, new media, poetry, critical writing, and scholarly research.

He had solo and group shows in the Middle East, North Africa, Italy, and the United States, including New York City where he was recognized by Betty Parsons in 1980.

Benoh's early exposure to the way of Infinity, the Sufi practice of oneness that transcends artificial divisions — along with reading extensively on the various philosophical thoughts of the ancient and contemporary scientific approach to understanding oneself and our world — fueled his work over the years.

Ideas within the realm of infinity seeped into his work, such as interconnectedness, transformation, regeneration, continuity, variations, boundlessness, expansiveness, motion, timelessness, weightlessness, and nothingness.

Though his family lived in humble surroundings, Benoh had a culturally vibrant upbringing, one filled with art, poetry, music, literature, and storytelling.

One of Benoh's earliest memories is spending Thursday evenings watching and imitating the Sufis next door, chanting and spinning.

After school, Benoh educated himself by reading extensively on various subjects, including medicine, science, regional and international law, the three Abrahamic religions, Hinduism, Buddhism, poetry, and philosophy by Sufis and other intellectuals.

His insatiable appetite for growing his artistic skills was finally satisfied when he enrolled at a newly established art center in downtown Damascus.

While maintaining his love for Arabic literature, Benoh also discovered works by international writers and read Leo Tolstoy, Victor Hugo, and Ernest Hemingway extensively, as well as existentialists like Jean-Paul Sartre and Simone de Beauvoir.

Along with his interests and activities, Benoh’s interactions with mystics, artists, poets, and intellectuals in a free and politically unrestricted environment during the 50s and 60s in Damascus, laid the ground for his mature work ahead.

[10] Living in a new environment, filled with bright colors and North African light, Benoh fully engrossed himself in experimental painting in gouache and later acrylics.

Fascinated with the openness of Tripoli to the Mediterranean Sea, he abstracted from life the ever-changing movement of the waves, capturing the energy of the natural elements through large brushstrokes.

[13] During this prolific time, Benoh painted at his studio and frequented the local social hot spots to draw daily at the cafes and restaurants, sharing communal tables with other creatives, including painters, sculptors, filmmakers, and poets.

In his final year in Rome, Benoh published "L'Arte Infantile," his thesis, expanding on his affinity for the early stages of creative development from scribbling to the interruption of academic shaping.

This new body of work, consisting of poetry-infused ink drawings and paintings of whorls of colors, was presented at his US debut solo show at Carriage Barn Gallery, New Canaan, Connecticut.

Some of his earlier drawings contain handwritten meditative prose, incorporated into the design, one of which with the motto, "Don't kill the whales' in several versions in the tail of a representation of the sea mammal.

Shortly after, he received a call from Lee Hall, the then-president of Rhode Island School of Design, offering an opportunity to work at the Betty Parsons Gallery in New York.

These experiments resulted in a series of hard-edge geometric compositions of oil and acrylic on partly peeled cardboard evocative of the city’s compacted, energetic urban life and architecture.

[25] Kim Clark of The New Paper reviewed the 1981 exhibition, stating that “Benoh, like the Cubists, is concerned with dimensionality - the timeless conundrum of  transforming three dimensions to a two-dimensional surface.” The artist “manipulates our perception of different colors so that what looks deep is sometimes shallow, and vice versa.

[28] For his first solo show at the new gallery,[29] Benoh painted a series of diptychs on paper with bold acrylic brushstrokes, creating enclosed organic shapes suggestive of voluptuous figures.

Reviewer Claude LeSuer of ArtSpeak noted the  three-dimensional effect in Benoh's two-dimensional work, "An almost sculptural quality is achieved by the way the pinned-down paper swells away from the wall, echoing the curve of painted forms.

While living in Rome in the late seventies, and after moving to the US, Benoh frequently returned to Venice, where he rented a large apartment as his art studio for the duration of the summer.

One day he ran into his friend from his earlier time in Rome, whom he would later refer to as Sufi; Wahid Magharbe with wife came to stay with Benoh to care for him.

Soon Benoh was able to express his state of mind in a series of collages and small mixed media works, which included a self-portrait of a photographic image of himself taken at a photo booth, juxtaposed with pictures of Venice.

He articulated this infinite continuum of shifting between dimensions in his published doctoral dissertation, An Examination Of The Process of Transforming Two Dimensional Constructions Into Three Dimensional Art Works, stating, “The six projects developed for this study explore spatial effects that take place in two and three-dimensional works in which constant shifting takes place between illusionistic and realistic space.” Benoh combined his martial arts practice[33] with his interest in altering dimensionality in a series of visual experiments: transferring drawings on paper from life and constructions of photographic collages into four abstract serial rearrangeable sculptures of mat-board, wire, and plexiglass.

The grand, mural-like work of lush, evocative brushstrokes, symbolic of excitement and optimism was exhibited in a group show[38][39] and soon after in a solo installation at the Roberson Museum and Science Center.

"[42] While teaching at George Washington University, Benoh completed his Breaking Boundaries, an installation of twenty-one paintings exhibited in 2006 at Roberson Museum and Science Center, Binghamton, NY.

"[43] Director of exhibitions, Peter Klosky observed Benoh's silhouetted human-animal compositions imparting "a sense of witnessing hidden intimacies as in the shadows cast upon a drawn shade."

In his published statement, Benoh emphasized the need for humankind to create harmony between animals and other living organisms, stating: "Though humans dominate the world in many respects, we are still at the mercy of the laws of nature.