Notably, she gained acclaim for her photographic series Girls in Cars and Miss Hybrid, which vividly portray rebellious Iranian women, challenging societal norms and expectations.

Reflecting on this series in a 2013 article for Deutsche Bank,[2] where her works were exhibited, Aliabadi recounted being stuck in traffic in an upscale part of Tehran.

She observed, "We were surrounded by beautiful girls made up to go to a party or just cruising in their cars, and I thought then that this image of women chained by tradition and the hijab is not even close to reality here.

"[2] This series illustrates the contradiction between the stringent restrictions imposed by Iranian laws and the youthful exuberance of women who engage with Western-style fashion and accessories while enjoying themselves.

This photographic series was exhibited at the 2008 Singapore Biennale and focused on packages and advertising images that were manipulated to include provocative phrases, providing a critical commentary on failed capitalism and consumerism.

"[11] This series exemplified Aliabadi and Moshiri's innovative approach to art, using familiar consumer goods to question and critique societal values and economic systems.

[11] A notable detail in many of these portraits is the presence of band-aids across the women's noses, referencing a fashion trend among Iranian youth that highlights the increasing prevalence of plastic surgery.

These images blend traditional attire with contemporary fashion trends, offering a commentary on artificial beauty and the sartorial limitations faced by some Muslim women.

The Miss Hybrid series exemplifies Aliabadi's ability to merge playful and serious elements, addressing issues of gender, beauty, and cultural identity within the context of modern Iranian society.