She is known for her gender-political work 400 Women, which took five years to create and comprises portraits by nearly 200 artists, including Maggi Hambling, Paula Rego, Zoe Laughlin and Celia Paul.

Exhibited across the UK and internationally, Challenger has been an invited speaker at the Women Of The World Festival, UAL, RHUL, Glasgow, Oxford and Cambridge Universities.

Challenger brought together a critical mass of nearly 200 international artists including Maggi Hambling, Paula Rego, Zoe Laughlin and Celia Paul to address issues of mortality and the capacity of art to imagine the dead, violence and trauma, with the aim of re-personalising the individual from a statistic.

The show premiered in November 2010 at Shoreditch Town Hall Basement space, London, supported by the Arts Council and Amnesty International.

From June 2012 – February 2013, Challenger was in residence at Beaconsfield Gallery BAW in London under the curatorial direction of David Crawforth and Naomi Siderfin, where she began exploring cultural homogeneity and the "selfie" portrait through her project Monoculture.

In February 2013, Monoculture show premiered at Beaconsfield and consisted of new large scale sculptural works that explore the relationship between social media, sexuality and self-representation.

In March 2016 this work was staged on a dramatic scale with hundreds of voices from multiple choirs as part of the Chorus Festival, Southbank Centre.

The first sculpture of this series, Empty Nest, was unveiled ahead of her David Vilaseca Lecture entitled On Truth and displayed as part of the collection in the Royal Holloway University Picture Gallery.

exhibition were No Bra, Judy Chicago, Challenger herself, Billy Chyldish, Gaggle, Gera (Nadya Tolokonnikova's daughter), The Gluts, Hayley Newman, Yoko Ono, Miss Pokeno, Pussy Riot, Jamie Reid, John Keane, Layla Sailor, Wendy Saunders, Carolee Schneemann and Voina.

– Nadine McBay's appraisal of the "Ducking Stool" sculpture, The National, 2018 "Challenger's wry, playful but nevertheless piercing critique infiltrates hyperbolic language from the inside – this is what makes the bowl shape of her structure so interesting.

– Kat Austen writing on Monoculture for the New Scientist in 2014[5] "A few more shows of the calibre of Tamsyn Challenger's tribute to the victims of Mexico's drugs war would have given this year's Edinburgh Art Festival a much-needed sense of global urgency and energy... 400 Women...is like a bullet to the brain" – Moira Jeffrey writing on 400 Women, Scotland on Sunday, 2012 "Stalin said, one death is a tragedy, a million is a statistic.