[3][4] Her works have been displayed in several shows in the UK, France, Belgium, Italy, Spain, Portugal, Cape Verde, Puerto Rico, USA, Mexico, and Brazil.

[8] Paulino is recognized for her visual representations of Black women that examine historical and modern social contexts of racism, discrimination, and slavery in Brazil.

As seen in her many exhibits, Paulino is a master of technical versatility using art mediums including drawing, sewing, lithography, digital printing, video, and sculpting.

In her works, Paulino creates space where Black women do not assume stereotypical roles including wet nurse, nanny and maid.

The inspiration for her early exhibit, Assentamento(s), was the historical archives of photographs of Black women in Brazil by a Swiss zoologist and Harvard professor, Louis Agassiz.

[22] Paulino disassembles and re-assembles the historical photographs of Black women by Swiss zoologist and Harvard professor, Louis Agassiz, in an effort to refazimento or ‘remake’ their narrative in Brazilian society.

Paulino gives agency and identity to the women, enlarging Agassiz’s photographs to true size and stitching biological organs in color to their bodies.

Paulino encourages the viewer to contemplate the history of Black women in Brazil and how they “continue to be treated as second-class citizens, subject to cycles of oppression”.

This stitching is symbolic of the silence, violence, slavery, and sexualization forced onto Black women by the patriarchy, racism and colonialism embedded in Brazilian culture and social structures.

[25] The stitched mouths of the women (Paulino's sister and godmother) in the exhibition recall the image of Escrava Anastacia and the iron bit (Máscara de Flandres) once used on plantations to punish, silence, constrain, and spread fear among slaves.

The drawings have a strong connection to African myths as the ‘animal-women’ are a reference to Orisha Oya or Iansã, the mother of dusk who controls the storms and wind.

Paulino uses reference to these myths and the deities to starkly contrast how black women are depicted from a Western versus non-white perspective.

[29] Senhora das Plantas is a parallel exhibit to Bufala that features of group of drawings depicting ‘vegetable-women’ that have roots growing from their bodies.

[30][31] The women are symbolic of life, re-birth, and mother nature with an emphasis on roots stemming from their feminine body parts including breasts and vaginas.