Lately, her research has been revolving around botanical politics and power structures. She has been investigating how systems of meaning have been impressed upon nature, flora, and seeds throughout eras of imperialism, colonialism, and globalisation, resulting in the exhibitions Botany under Influence, apexart, New York, USA (2016); Leave No Stone Unturned [Remuer la terre], Le Cube — independent art room, Rabat, Morocco (2019); Ground Control [Markkontroll], Bildmuseet, Umeå, Sweden (2020); Planted in the Body, MeetFactory, Prague, Czech Republic (2021); Effet de Serre – Farah Khelil (Recipient of AFAC Visual Grant 2019), Parc du Belvédère, Tunis, Tunisia (2021), and in the essay Waking Dormant Seeds for Theatrum Botanicum, edited by Uriel Orlow and Shela Sheikh (Sternberg Press, 2018).
In the same line, she is interested in exploring the links between waters, toxicity and circulation, as initiated with Spoiled Waters Spilled, Ballet National de Marseille, Marseille, France in the framework of Manifesta 13, Les Parallèles du Sud (2020). This aquatic thread is explored in an upcoming exhibition at the CAC Cincinnati, USA (2022).
Recently, she curated Alter me, Alter you [Промени ме, променям те] at the Goethe-Institute Sofia, Bulgaria (2018); Olympic Stadium at Le Patio, Paris, France (2018); and the show, performance and night screening Au loin les signaux, al lou’lou’ held during the Heritage Days in the dockyards of L’Anse du Pharo, Marseilles, France (2017).