[3] Her work critiques archaeological epistemologies and methodologies, and argues for a changed praxis based on decolonized principles and participatory ethics.

When told government checkpoint locations were in constant flux as a military strategy to prevent attacks and reshape urban dynamics by “fracturing” the neighborhood, she began to generate a mental archaeological survey as a protective measure.

The research she oversees is intentionally feminist, anticolonial, and antiracist; with the goal of correcting the colonial lens with new archaeological data interpretation.

This project utilizes technologies like GIS and photogrammetry that allows for visualization of multiple strata, artifacts, and architecture through time, enabling researchers to analyze ancient cities from an urban planning perspective.

[17] Rizvi taught a contingent of students for the cognate Campus Art Dubai program, a school for artists, curators, writers, architects, designers and cultural producers based in the UAE.

The Core Program took on the theme “Turbulent Waters, Shifting Sands.” Course material, workshops, lectures, critiques and seminars explored what it means to exist in the fluid geographies and topographies of the region, while challenging participants’ fixed notions of borders, identity, architecture, urban development and trade.

[18] Alongside Murtaza Vali, Rizvi curated the National Pavilion of Saudi Arabia at the 17th Venice Architecture Biennale, featuring Studio Bound architects Hussam Dakkak, Basmah Kaki, and Hessa AlBader.

The exhibition examined the evolution of enclosures as they respond to external contexts, derive new meanings from novel situations, and redefine the relationship between the individual, the community and the other.