In 1991, in collaboration with fellow artist Spencer Finch, the duo created an alternative audio tour of the Metropolitan Museum of Art, entitled Masterpieces Without the Director.

This exhibition examined the early works of Ramírez Jonas and his exploration of technological progress as a backdrop to address concepts of time, memory and loss.

[9] Despite this emphasis, in the catalogue that accompanied the 2004 Ikon exhibition, editor Sofía Hernández Chong Cuy acknowledges the artist's growing interests in “public space”.

"[11][better source needed] In addition to conceiving public projects, both permanent (Taylor Square in Cambridge, and Hudson River Park, New York City) and temporary (such as Talisman at 28th Bienal de São Paulo, 2008), Ramírez Jonas was the subject of numerous solo exhibitions.

[15] Ramírez Jonas’ series of works that involved an exchange of keys with the audience had particular import for the field of socially engaged artists and thinkers.

In considering these art objects, writer and curator Nato Thompson wrote that the keys, “Recontextualized, they offer opportunities for participants to contemplate a broader range of choices, possibilities, and social interactions.”[18] With Ramírez Jonas’ interest in speech acts, citizenry and audience participation, his works embodied many of the concerns of socially engaged art.

His approach described at times as a “MicroUtopia” for its capacity to temporarily engage the audience directly in small but exceptional acts that address large scale societal issues.

Taking the early prototypes for flying machines as points of departure, Ramírez Jonas built kites that he launched from the beach in reference to the experiments of the Wright Brothers.

Like thus, Ramírez Jonas’ early works such as ‘Heavier than Air’ often recreated or reenacted historical moments in both traditional and contemporary media.

In 1999, Ramirez Jonas produced a project entitled A Better Yesterday for the exhibition Panorama 2000 organized by the Centraal Museum in Utrecht.

[27] In this series of sculptures entitled Publicar, Ramírez Jonas altered large boulders by carving into them a space for monument plaques to be placed.

Much like his 2009 boulder piece in Porto Alegre, Ramírez Jonas created a riderless horse made of cork for the purpose of allowing the public to use pushpins to leave notices to others.

In 2017, The Commons was part of the exhibition Atlas, Plural, Monumental, a 25-year survey of the artist's work at Contemporary Arts Museum Houston (CAMH).

In 2017, Public Trust was part of the exhibition Atlas, Plural, Monumental, a 25-year survey of the artist's work at Contemporary Arts Museum Houston (CAMH).

The work honored the role of cuisine and cooking in cultural cohesion and expression among communities and identities, even when individuals and families relocate locally, nationally or internationally.

With this in mind, the artist produced a video featuring local chefs preparing recipes and relating stories on each dish’s significance and stating what the eternal flame meant to them.

Ramírez Jonas imagines cooking culture as a symbolic eternal flame, enduring in communities for generations, over vast distances.

[46] Ramirez Jonas married arts professional and founder and former executive director of A Blade of Grass, Deborah Fisher.

[47] In 2022, the couple relocated to Ithaca New York after Ramirez Jonas was appointed Chair of the Art Department at Cornell University the previous year.