[3][4] Whetung is known for her use of printmaking, digital media, beadwork, and topographic forms to discuss issues of Indigenous land and food sovereignty, knowledge transfer, language, and environmental stewardship.
[5] Whetung has collaborated with Jeneen Frei Njootli on several projects and presentations, and wrote Fugitive Dust to accompany Frei Njootli's solo exhibition, I Can’t Make You Those Mitts Because There Is a Hole in My Heart and My Hands Hurt (2018) at Artspace in Peterborough, Ontario.
[12][13] In 2019 to 2020, Whetung's solo exhibition, Sugarbush Shrapnel, was shown at the Contemporary Art Gallery in Vancouver, British Columbia.
[14][15] Whetung considered "her own connections to the complex ecosystem of her home on Chemong Lake, Ontario, particularly the importance of food sovereignty and the fragility of symbiotic relationships in an era of accelerating climate change and environmental destruction.” [15] This exhibition travelled to the Campbell River Art Gallery, from September to November 2020.
Whetung's work was part of the group exhibition, Beads, they’re sewn so tight, which was curated by Beausoleil artist and curator Lisa Myers, and shown at the Textile Museum of Canada and Thunder Bay Art Gallery in September 2019.