Albarracín is known for her performances, video, drawings, photography and interactive sculptural installations "that focus on the cultural construction of Spanish identity, especially that of the Andalusian[2] woman.
When her work started becoming "more serious,"[6] she moved back to her home town to pursue an artistic career based on the social condition of the Andalusian identity.
Pilar strived to create work based on the role of women, religious myths, and popular traditions.
[7] She earned her spot as a popular artist through her performance pieces where she has been able to transform herself into different female archetypes to portray her messages of feminism and empowerment.
Rosa Martínez writes that the women depicted by Albarracín "have all been used or abused by a system that considers them chattels, consumer goods.
Albarracín's 1999 performance, Spanish Omelette (Tortilla a la española) has her cutting up her own dress and cooking it in a "ceremony of self-immolation.
[5] It also sparked conversation: Albarracín's requests for underwear from her relatives and friends caused them to open up and talk about themselves and their relationships with their own clothing and their bodies.
[11] Although much of her work deals with serious issues, Albarracín populates her artistic vision so that it is "full of parodies and tragi-comedies that verge on cathartic paryoxysm.
[14] One of Albarracín's most recent exhibitions, consisting of traditional Flamenco performance art, was displayed in the Galerie Georges-Philippe et Nathalie Vallois in Paris, France (2017).
[17] Albarracín's most notable and thought-provoking exhibitions, El Nuevo Mundo, displays mandalas created out of panties in a powerful way of showing the cultural construction of the Spanish woman.
[18] This exhibit was originally shown in the Galerie Georges-Philippe et Nathalie Vallois in Paris, France in 2012, where it started to gain popularity.
[22] Other important exhibitions of Albarracín's work have been shown at La Caixa (2002), the Reales Atarazanas in Sevilla (2004) and the Maison Rouge in Paris (2008).
[24] The "Altadis Arts Plastics Award" chooses six Spanish or French artists without criteria of age or nationality.
[25] Albarracín published Mortal Cadencia[26] in 2008 in which she questions Spanish society, conventional gender roles and sexual identity through a multimedia exhibition.