From 2005-2010 she was the Chief Curator of the HMA (Haifa Museum of Art) in Israel.
She started her curatorial practice in 1992 and over the years she has curated numerous group and solo exhibitions in prominent museums in Israel and the US, where she lived and worked also between 1994 and 1999.
In addition to essays for catalogues and books published in conjunction with the exhibitions she has curated, Katz-Freiman has written numerous articles, essays, and reviews addressing various issues in contemporary art.
335–351 Tami Katz-Freiman, "Craftsmen in the Factory of Images," from BoysCraft in: The Craft Reader[2] (edited by Glenn Adamson), Berg, Oxford, New York, 2010 pp.
596–605 Tami Katz-Freiman, "'Don’t Touch My Holocaust': Israeli Artists Challenging the Holocaust Taboo", a paper for the International conference: Representing the Holocaust: Practices, Products, Projections, Berman Center of Jewish Studies, Lehigh University, Pennsylvania in: Impossible Images: Contemporary Art After the Holocaust,[3] New York University Press Tami Katz-Freiman, "Bad Girls: The Israeli Version – Contemporary Women Artists in Israel," in: Jewish Feminism in Israel: Some Contemporary Perspectives[4] (edited by Kaplana Misra and Malanie Rich), Brandeis University Press, New England From Skins to Landscape: on Agustina Woodgate's Rug Collection, an essay for Agustina Woodgate: Rugs, Art and Culture Center of Hollywood From Body Politics to Conflict Politics: Aziz + Cucher Come Out of the (Biography) Closet, an essay for Aziz + Cucher: Some People, The Indianapolis Museum of Art Critical Mass: Beyond Aesthetics (written with co-curator Rotem Ruff), an essay for Critical Mass: Contemporary Art from India, Tel Aviv Museum of Art Nature Has No Copyright, an essay for UNNATURAL, Bass Museum of Art Collecting is a Form of Uprooting – An Encounter Between Self and Object, an essay for Shelf Life (co-curated with Rotem Ruff), Haifa Museum of Art, Israel Exaggeration is Twice as Real, an essay for Wild Exaggeration: The Grotesque Body in Contemporary Art, Haifa Museum of Art Craftsmen in the Factory of Images, an essay for BoysCraft, Haifa Museum of Art The Road to Happiness: On Cultural Conflict, Desire, and Illusion in the Work of Kader Attia, an essay for Kader Attia's monography, Musee d’art contemporain, Lyon The Industry of Emotions / Or: I Feel, Therefore, I Am, an essay for Mixed Emotions, Haifa Museum of Art Fatamorgana: The Magic Lantern of Consciousness, an essay for Fatamorgana: Illusion and Deception in Contemporary Art, Haifa Museum of Art Dancing with Barbed Wire, an essay on Sigalit Landau for Memorials of Identity: New Media from the Rubell Family Collection, Miami Love is in the Air: Quick Introduction to Romantic Love, an essay for Love is in the Air, Time for Art: Israeli Art Center, Tel Aviv OverCraft: The God of Small Details, an essay for OverCraft, The Art Gallery, Haifa University and Artists House, Tel Aviv A Matter of Distance, a catalogue essay for Desert Cliché: Israel Now – Local Images, Bass Museum, Miami Beach Meta-Sex 94: Identity, Body and Sexuality, a catalogue essay for Meta-Sex 94, Museum of Art, Ein Harod Antipathos: Black Humor, Irony and Cynicism in Contemporary Israeli Art, a catalogue essay for Antipathos, The Israel Museum, Jerusalem “Hastily the World Hastens to Pass Away…”, a catalogue essay for Postscripts: “End”- Representations in Contemporary Israeli Art, The Genia Schreiber University Art Gallery, Tel Aviv University