Additionally, at the beginning of her career, Gruner began making short films and video performances that she recorded using a Super 8 camera.
[5] Silvia Gruner is recognized as one of the most original artists of her time in Latin America and is praised for having created a new vocabulary in Mexican contemporary art.
[6] Gruner wanted to create art directly on a part of the border fence that ran between the Colonia Libertad in Tijuana and San Diego.
Through the use of everyday objects she demonstrates how this piece is deeply rooted in the Mexican culture and shows not only their history but the people themselves within the art.
[12] In How to look at Mexican Art , Gruner pictures her fingers through a punctured molcajete on top of a piece of bright red plastic.
[13] The molcajete is also very significant and personal in this piece as it belonged to Gruner's childhood nana, or nursemaid which shows how it has been used by various women and is full of tradition.
[14] Centinela is a video in which the artist has her head shaved from recent cancer treatments and stands in front of a modernist fountain created by Mathias Goeritz, Ricardo Legorreta, and Isamu Noguchi.
The exhibition highlights her works such as The films Sand (1986) and Sentinel (2007), How to Look at Mexican Art (1995), Bauhaus for Monkeys (2011), and 500 kilos of Impotence (or possibility) (1998).