[3] Rasheed's art explores memory, ritual, discursive regimes, historiography, and archival practices through the use of fragments and historical residue.

The experience of moving through temporary homes with her family led to an interest in the practice of collecting and archiving to cope with her forced displacement.

Rasheed came to photography and collaging while living and studying in South Africa as an exchange student, and later as a Fulbright Scholar, where she discovered an interest in the act of documentation and interviewing.

The first iteration of her immersive installation, No Instructions for Assembly, Activation I (2013), took place at Real Art Ways and consisted of over six hundred objects, including found and personal family photos, album covers, tufts of family members' hair, Islamic prayer rugs, newspaper clippings, jewelry, prayer beads, black stockings, and mirrors, among other items.

[6][9] The major themes of Rasheed's work revolve around conflicting histories, visual culture, being black in America, unearthing buried narratives, and the complexity of memory.