[10] She has served on the board of directors of Planned Parenthood of Massachusetts as well as other feminist organizations such as the Committee for Abortion Rights and Against Sterilization Abuse, NYC.

The Convention temporarily reclaimed 12 burnt-out blocks of the South Bronx at Charlotte Street in NYC where they built their own "White House" and Peoples' Park.

[14] She wrote and directed her film, The Heretics, about the collective in which 24 artists spoke about the times they shared challenging established notions of gender and power.

The plot is semi-autobiographical, following Braderman's first person account as she arrives in New York City in 1971 and is introduced to the arts culture of lower Manhattan at the time.

[46] In order to shoot the film, Braderman travelled from New Mexico and Italy, re-connecting with former collective members now living in widely different locations around the world.

The film was shot in Carboneras, Spain; Santa Fe, New Mexico; Northampton, Massachusetts; Portland, Maine; Venice, Italy; San Francisco, California, and New York City.

[40] The former collective members featured in the film include Emma Amos, Ida Applebroog, Mary Beth Edelson, Su Friedrich, Janet Froelich, Harmony Hammond, Joyce Kozloff, Lucy Lippard, Amy Sillman, Susana Torre, Cecelia Vecunia, and Nina Yankowitz.

The Heretics has been remarkably well-received on the whole, garnering positive reviews online and in print publications such as The New York Times, The Washington Post, The Village Voice and Artforum.

The No More Nice Girls mandate expresses an investment in allowing artists to secure freedom of speech through access to the medium of video and internet.

[30] Braderman has stated: "my work has been about creating alternative representations of dominant rhetorical categories such as woman, sexuality, space, or politics.

[57] Her essays include Feminism and Video: A View From The Village,"Camera Obscura; Archive for the Future",[58] The First International Festival of Films by Women, Artforum, September 1972.

Reclaiming the Utopian Movement, "Paper Tiger Television", and Feminism, the individual and what's left: "Heresies: A Feminist Publication on Art and Politics" Issue 1, Number 1, 1977."

Notable reviews have been included in publications such as The Guardian (London), The New York Times, The Village Voice, Artforum, The Independent, The Washington Post, and Art Journal.

[59] Her work is currently distributed by: The Video Data Bank at the Art Institute of Chicago;[20] Women Make Movies;[60] LUX;[61] and The Danish Broadcasting Corporation.