"Her projects display a unique sensibility for identifying the existing social capital in a community, which she utilizes as she works to find solutions to everyday problems."

Her father, Ivan Potrč, was a well-known Slovenian social realist novelist and playwright, originally from the Styria region, and the main editor at the Mladinska Knjiga publishing house.

Her installations from this period often involved various kinds of walls; for example, Two Faces of Utopia (1993, made for the Slovenian Pavilion at the Venice Biennial), and the series Theatrum Mundi: Territories (1993–1996).

[4] Dry Toilet is one of a series of community-focused on-site projects by Potrč that are characterized by participatory design and a concern with sustainability issues, particularly in relation to energy and water infrastructures.

Other important projects are Power from Nature (Barefoot College, Rajasthan, India, and the Catherine Ferguson Academy, Detroit, Mich., USA, 2005),[5] The Cook, the Farmer, His Wife and Their Neighbour (Stedelijk Goes West, Amsterdam, 2009), Rainwater Harvesting on a Farm in the Venice Lagoon (Sant'Erasmo Island, Venice Lagoon, 2010), The Soweto Project (9UB, Soweto, South Africa, 2014), and Of Soil and Water: King's Cross Pond Club (Relay Art Programme, King's Cross, London, 2015).

She and her students carried out participatory design projects in various countries around the globe (Germany, Greece, Israel, Mexico, the United States, and South Africa, to name just a few).

In these projects, Potrč and her students saw themselves as mediators and collaborators with the community and developed new methodologies and a new vocabulary for their participatory practice, such as "rituals of transition", "relational objects", and "performative actions", among others.

[9] Since 2010, Potrč has collaborated on a number of projects with the architectural and design practice Ooze (Eva Pfannes and Sylvain Hartenberg), based in Rotterdam.

[14] Another architectural case study, Duncan Village Core Unit, first presented in 2002 at Galerie Nordenhake in Berlin, offers an example of collaboration between municipal government (in this case, in East London, South Africa) and residents: the city provided service core units connected to the water, energy, and sewage infrastructure, and the new residents built their homes around them.

In later installations,[15] new elements were added, such as a water tank, a satellite dish, a sunshade, a house, and urban agriculture, to illustrate the kind of growing structure built by the residents.

Potrč describes the architectural case study Caracas: Growing Houses, first exhibited in Architektonika 2, at the Hamburger Bahnhof – Museum of Contemporary Art in Berlin in 2012,[16] as a "three-dimensional portrait of an informal city."

Among these, the most significant have been her projects in the Amazonian state of Acre in western Brazil in 2006 (in conjunction with the São Paulo Art Biennial);[19] the Lost Highway Expedition, in nine cities in the Western Balkans, which she co-organized in collaboration with a group of artists and architects;[20] her research project on water issues in post-Katrina New Orleans (2007);[21] and her multipartite installation for the 23rd Biennale of Sydney (2022), which focused on the rights of rivers and the human relationship with nature, in which she collaborated with the Wiradjuri elder Ray Woods.

These research projects provide the basis not only for her architectural case studies but also for visual essays and large-format diagrams, which present her findings to wider audiences.

Potrč constructs her visual essays as narratives that use simple images and text to convey and interpret the challenges and strategies of the communities she has studied.