She was the founding director of the Smithsonian Institution Experimental Gallery (1989–1993), president and CEO of the Charles H. Wright Museum of African American History (1994–1998) in Detroit, president and CEO of the Barnes Foundation (1998–2005) in Merion, Pennsylvania, and director of the Hanford Reach Interpretive Center, a project of the Richland Public Facilities District.
Camp joined the Association of American Cultures (TAAC), the first national multicultural art organization in the US and served as vice chair of the board of directors.
Conceived of by Elaine Heumann Gurian, the gallery served as a dynamic space for experimentation and innovation in exhibition design and presentation, context, interpretive strategies, physical and psychological access in the arts, humanities and sciences.
[11][12] In 1994, Camp became executive director then president and CEO of the Museum of African American History in Detroit, Michigan.
[17] With approximately 9000 works of art, the Barnes is the first purposefully multicultural collection of decorative, folk and fine art in the United States, including international artists Claude Monet, Tintoretto, Giorgione, Pablo Picasso, Vincent van Gogh, and American painters William Glackens, Horace Pippin, Charles and Maurice Prendergast.
[22] Camp lectures at colleges, universities and museums based on her research, to dispel entrenched beliefs and mythologies about the Foundation and its founder Barnes, a chemist and philanthropist who remained a staunch advocate for ending racial discrimination and social justice.
Camp's manuscript titled Defending the Dead, includes a detailed account of the professionalization of the Foundation and its legal challenges during her tenure.
[19] Controversy over the move began years before because of challenges from Lower Merion Township's zoning laws that restricted visitation.
[18][3][25] Camp moved to eastern Washington in 2007 to become the first executive director of the Hanford Reach Interpretive Center, a project of the Richland Public Facilities District.
When the initial site was rejected by indigenous communities, Camp led the effort to construct the center on the banks of the Columbia River with their approval along with the US Army Corps of engineers, the US Federal Highways Administration, US Fish and Wildlife, state, and local agencies.
[33] Camp's dolls extend beyond the African-American experience to include a wide range of interests, cultural knowledge and travel.
"[32] She was inspired to begin creating dolls to allow African Americans, particularly children, to engage with their history and culture through play.
Curator Philip Collins described her dolls as being "possessed with a visual excitement that expresses an aura of mystery and rare beauty.
[37][38] She later changed the name to Kimkins,[4] which have been published in local print and broadcast media, National Geographic World, Essence and Ebony magazines.
[32] Camp's "Twilight" doll garnered artistic and critical attention when it was the centerpiece and catalogue cover illustration for the 1995 traveling exhibition "Uncommon Beauty and Common Objects," organized by the National Afro-American Museum and Cultural Center in Wilberforce, Ohio.
Subjects include family members, and images created to reflect Camp's deep spiritual experiences.