In 2000, she participated in The Desert, a group exhibition at Fondation Cartier in Paris with Om El Dounia (Mother of the World),[8] a vast mosaic of photographs with highly saturated colors.
[4] In this piece, Baladi draws from influences from both Western and Islamic traditions, creating "fantastical, playful surveys of history, culture and personal reflection.
[15] The work consists of "a large eight-pointed star constructed of steel--approximately 23 feet in diameter--and a series of light boxes containing saturated colored images produced from x-ray photographs of a pregnant doll giving birth".
[11] Her installation Roba Vecchia[17] was presented in 2006 at the Townhouse Gallery in Cairo,[16] in 2007 at the Sharjah Biennal[18] and in 2009 at Arabesques, an exhibition of Arab contemporary art at the Kennedy Center in Washington[19] and described as a "human-scale kaleidoscope",[20] that "incorporated images from pop culture, then shattered them in constantly changing geometries",[19] and in which "the participant becomes immersed in a psychedelic environment where rapidly yet systematically changing imagery engulfs the viewer".
[16] Borg el Amal (Tower of Hope), an ephemeral construction and sound installation, won the Grand Nile Award at the 2008/2009 Cairo Biennale.
[4] Her own tower in Borg el Amal was constructed of similar materials to the ashwa'iyat and allowed the audience to experience music under the oper sky.
The entire installation is a challenge to "the censorship of the Mubarak era and addressed the state's ignorance of [that social plight]," which Baladi saw as a problem which she likened to a "ticking bomb about to explode.
[21] Coffee cups,[22] presented in 2010 at Gallery Isabelle van den Eynde in Dubai has been considered both "playful" and inviting the viewer "into a world of contemplation and reflection".
[27] Baladi writes, "people in the square took photos because they felt the social responsibility to do so...The camera became a nonviolent weapon aimed directly at the state, denouncing it.
She writes that "most of the images of the 18 days [of protest] vanishing into a bottomless pit thanks to Google's PageRank algorithm, will the vision of a possible new world people glimpsed in [Tahrir] Square die along with its digital traces?