In 1973, she worked on the scenic design for Tom Eyen's White Whore and the Bit Player, which was directed by Manuel Martin, Jr. as a bilingual production (Spanish and English) at La MaMa Experimental Theatre Club.

Between the late 1950s and early 1970s, Ferrara's sculptures "included wax figures in groups, constructed boxes with macabre contents, and hanging pieces, such as tail-like objects of jute and canvas panels covered with cotton batting and hung in rows.

In the subsequent show Ferrara used only bare wood (nailed or glued) and thereby achieved greater clarity over all, technical precision and a stronger sense of mathematical order with her unitary sequences.

[3]Characteristics of Ferrara's work include wooden pyramid or ziggurat structures with accompanying horizontally stacked steps, "meticulous craftmanship... reference to generic types of non-Western building, such as those of Mesoamerica and Egypt, and to geometric form.

After often choosing two shades of plywood for the wallyards, Ferrara in 1982 started using stains, which she limited to black, red and yellow and diluted so as to leave the grain of the wood visible.

[3] Many look like small-scale models of temples, yet defy "specific historical dating... seeming simultaneously ancient, modern and even futuristic in some cases".

Her "public environments" in the 1980s and 1990s "deal primarily with surface – floor areas, walkways and platforms – and the arrangement of geometric patterns... Ferrara has favoured the use of tiles (granite, slate and terracotta, for example) to compose such elements as chequerwork, triangle and bands of various sizes that traverse space in sometimes unpredictable directions.