She has held solo exhibitions in New York, London, Dubai, Guatemala City, Jerusalem, Ramallah and Arizona.

[2] In 2019, she was selected as an artist in residence at Artpace San Antonio that culminated with a solo exhibition titled “Until Total Liberation.”[3] She also represented the United States at the 13th International Cairo Biennale in 2019.

In an interview, Sand Rushes in, Alshaibi credits her mentor John H. White (an African American, and Pulitzer Prize winning photojournalist for the Chicago Sun Times) for recognizing that she was a conceptual artist, even though her concerns were political in nature.

She remained in the photojournalism track, but her early work showed the beginnings of what she eventually would become known for in her future practice, including her body staged as various characters.

In interviews, Alshaibi states that living in a war and later as a refugee are the driving influences of her artwork, but she also notes the particular impact that black photographers working with issues of identity and representation have had on her.

Besides her two mentors, Chong and White, Alshaibi was also inspired by artists Carrie Mae Weems and Lorna Simpson when she was introduced to their work while at Columbia College.

[10] In the first semester of graduate school, Alshaibi's university museum held an exhibition titled "Shatat: Arab Diaspora Women Artists"; Alshaibi credits this exhibition for giving her the vocabulary to contextualize her work as well as introducing her to the artists and curators, especially Dr. Salah Hassan, having a major impact on her future studies.

The book also presents other series including Thowra, Negatives Capable Hands and The Pessimists in the context of Silsila which means 'chain' or 'link' in Arabic.