A multidisciplinary artist, since 1978 Salloum has produced work in installation, photography, video, performance and text, as well as curating and coordinating a vast array of cultural projects.

[11] Under the guidance of Hubert Hohn (who worked with Ansel Adams and assisted Minor White), Salloum learning the technical, formal intricacies of making a photograph.

[13][15] After a discussion ensued in the House of Commons, in which Prime Minister Jean Chrétien voiced his support for the exhibition, the show opened on schedule.

Salloum created a 38-minute video, untitled part 4: terra incognita, which interviews local Syilx First Nations residents and documents the history and shameful legacy of Canada's ongoing colonialism.

[19] For Salloum, this material constituted a living archive that "called into question notions of history and research methodology, their role in the effacement of histories, and the mediated process inherent in the representation and (mis)understanding of another culture…"[19] This notion of a living archive recurs throughout Salloum's body of work and can be seen in both his installation work as well as his curatorial engagements.

"[19] As Jim Drobnick and Jennifer Fisher note, "Salloum's practice of taking photographs works as a kind of visual diary of the act of 'passing by.'

Their diversity, occupying all positions on the spectrum of aesthetic possibility—alternatively seductive/repulsive, intriguing/banal, formally sophisticated/ snapshot raw, empathetic/voyeuristic, surreal/documentary—replicates not the identifiable, trademark vision that is so often demanded of an artist, but the fractured, fluid experience of living and being in a contemporary metropolis."

In 1992, two years after the end of the Lebanese Civil War, Jayce Salloum visited Lebanon with his then assistant, artist Walid Raad.

[26] For example, the untitled video series confronts issues of representation by drawing one's eyes to the margins, asking us to engage with—and look at—what lay on the periphery.

[26] His early film Introduction to the End of an Argument/Speaking for Oneself...Speaking for Others... (مقدمة لنهائيات جدال)(1990), co-directed with Palestinian filmmaker Elia Suleiman, marks Salloum's interest in refusing any distinction between modes of documentary and contemporary art.

[20] In his video untitled part 1: everything and nothing (2001), Salloum interviews Soha Bechara, a member of the Lebanese National Resistance/Lebanese Resistance Front who was detained in the Khiam detention camp in Southern Lebanon from 1988 to 1999.

Over the decade, Amnesty International issued numerous reports on the squalid conditions of the camp, and Sallum notes that "various tortures inflicted upon the detainees included electric shock (to fingers, tongue, lobes, nose, toes, breasts, nipples, genitals), beatings, confinement in a cube (3’ square), soaking, hanging, and long term sleep deprivation.