[7][8] His films explore histories of the revolutionary left as "accidental trojan horse", including Last Man in Dhaka Central (2015) which premiered at the 56th Venice Biennale as part of "All The World's Futures" curated by Okwui Enwezor.
Visible's work exhibited internationally, including the 2006 Whitney Biennial of American Art ("Wrong Gallery" room)[23] and L'institut des cultures d'Islam in Paris.
[24] His solo projects have looked at military coups ("My Mobile Weighs A Ton" at Dhaka Gallery Chitrak),[25] surveillance ("Otondro Prohori, Guarding Who?
", Chobi Mela V at Bangladesh Shilpakala Academy),[26] Indian partition ("Kazi in Nomansland" at Dubai Third Line),[27] architectural nationalism ("Penn Station Kills Me" at Exit Art),[28] and dueling leftist and Islamist politics ("Live True Life or Die Trying" at Cue Art Foundation, New York).
[36] Essays on Bangladesh history include"Muktijuddho: Polyphony of the Ocean",[37] "Accelerated Media and the 1971 Genocide",[38] "Musee Guimet as Proxy Fight",[39] "Mujtaba Ali: Amphibian Man" (The Rest of Now, Rana Dasgupta ed.
[48] Essays on culture include "Islamic Roots of HipHop" (Sound Unbound, MIT Press; Runner Up for Villem Flusser Theory Award),[49] "Adman blues become artist liberation" (Indian Highway, curated by Hans Ulrich Obrist)[50] and "At the coed dance " (Art Lies: Death of the Curator).