Clark is a fiber artist known for using a variety of materials including human hair and combs to address race, culture, class, and history.

[3] Although African art and her Caribbean background are important influences, Clark also builds on practices of assemblage and accumulation used by American artists such as Betye Saar and David Hammons.

Prior to her appointment at VCU, she was Baldwin-Bascom Professor of Creative Arts at the University of Wisconsin-Madison,[16] where she received tenure with distinction and an H.I.

[17][18] Much of Clark's work utilizes humble materials and objects, like combs, seed beads, coins, threads, and strands of hair.

She has studied with craftspeople in places like Australia, Brazil, China, Côte d'Ivoire, Ghana, India, and Indonesia, where she learned about their mediums, tools, technique, and cultural associations.

[19] In her work, craft and community and intertwined; many of her projects involve participation and promote collaboration across racial, gender, and socioeconomic lines.

When trying to unravel complex issues, I am instinctively drawn to things that connect to my personal narrative as a point of departure: a comb or a strand of hair.

"[21]The Hair Craft Project is a series of photographs and canvas works that were made in collaboration between the artist and Black hairstylists, who Clark sees as practicing their own form of textile artistry.

Rooted in a rich legacy, their hands embody an ability to map a head with a comb and manipulate the fiber we grow into a complex form.

[26] She has performed Unraveling in June 2015 at the now-defunct Mixed Greens gallery in New York City and then at the Nasher Museum of Art at Duke University, in October 2016.

[28] Her presentation of the exhibit in Louisville Kentucky in 2017 "was the first performance under the [Trump] administration and since the country has found itself embroiled in debate over the presence and ramifications of Confederate imagery in the wake of the violence in Charlottesville, Virginia, this past summer.

According to Goodman, "Clark stands side-by-side by participants, shoulder-to-shoulder as they pull each strand of the flag and confront the reality it represents".

[28] In April 2018, Clark returned to her alma mater, Amherst College, to perform "Unravelling" at the Mead Art Museum.

[29] In 2017, Clark created a hand woven linen cloth reproduction of the white dish towel used by a Confederate soldier to surrender at the Appomattox Court House on April 9, 1865.

A larger immersive outgrowth of the project "Monumental Cloth: the Flag We Should Know" was made in collaboration with and exhibited at The Fabric Workshop and Museum[31] Her 450 square foot enlarged replica of the truce flag used for the Confederate surrender at Appomattox, Virginia, "Monumental", is in the permanent collection of the Smithsonian American Art Museum's Renwick Gallery.

[52] Her work can be found in many books including Wrapped in Pride, Mami Wata, Hand + Made,[53] The Global Africa Project, Second Lives, Manufractured,[54] Material Girls, Contemporary Black Women Artists,[55]Pricked, African American Art and Artists, Choosing Craft, and Master: bead-weaving[56] Her work, Monumental,, was acquired by the Smithsonian American Art Museum as part of the Renwick Gallery's 50th Anniversary Campaign.