Her works explore themes of decolonization and incorporate elements of audience engagement and the breaking of the fourth wall.
Her choreographers included chameckilerner, John Jasperse, Jeremy Nelson, Maria Hassabi, and Wil Swanson.
Dancers clad in blue smocks, reminiscent of women factory workers of World War II have an initially synchronized choreography, with "a similar camp aesthetic" to that of Busby Berkeley in 1930s musicals.
The synchronicity erodes as the piece proceeds, and red paint drips down their dancers' fishnet-stockinged hips as they assume crab-like postures, "moving like B-movie groin-headed creatures from an alien invasion theme".
[2] achugar's works belong to contemporary dance, incorporating audience engagement and the breaking of the fourth wall and exploring themes of decolonization through the erasure of hierarchy and the subversion of gaze.
[3] Her work at The Kitchen, Puro Deseo, was reviewed by the Village Voice, which found that achugar "has always investigated—celebrated—the primal in her compelling pieces".
[6] The piece includes "ritualistic repetition of articulated leg positions" and naked dancers who attempt to put on denim jeans without the use of their hands.
[2] Her work Otro Teatro premiered at the Walker Art Center in 2014 and included performers situated in the audience.