In 2004, she participated in the exhibition “El Arte de América Latina en la Transición al Siglo XXI” (Latin American Art in the Transition to the Twenty-First Century) in Santiago de Chile, with the work De las hojas sólo queda el susurro (Only a Whisper Remains of the Leaves), which consists of a series of plasticized leaves contained in vegetable forms that grow on charcoal, alluding to false nature or its simulacrum. In 2010, as part of the third edition of “Festival Arte por la Tierra” in Guadalajara, Mexico, the artist produced packages of water frozen in a special agricultural gel, with the aim of having the public write positive words related to the water cycle on them. This work was based on the work of the Japanese doctor Masaru Emoto, which consists of energetically stimulating water with positive words such as love or gratitude. In 2012 she taught the workshop Mandalas: The Art of Drawing in Circles at the Mexico-Canada Interdisciplinary Art Encounter “SiMBiOSiS—SyMBiOSiS”, where the basic foundations of mandalas were discussed, including sessions on drawing, color, geometry, and meaning. In 2015 her community project “Recrea Xonacayucan” focused on creating ecological artworks in various settings of the San Felipe Xonacayucan Park in Atlixco, involving nearly 200 children and youth from various public schools in the municipality through recreational, educational, and environmental activities. Based on this project, the artist was invited to participate with the installation Cola de Burro (Donkey Tail) at the Royal Botanical Garden in Toronto, Canada, during the Pan American Games, taking inspiration from the pre-Hispanic ball game of the ancient Mesoamericans. In the same year she produced ¿Qué te hace florecer? (What Makes You Bloom?), an artistic intervention that consisted of building an offering for a centennial tree in the Seisenneg Park in Italy, made up of vines and flowers crafted by the community’s young students, along with the realization of a series of written notes that answered title question. As part of a collective with José Lazcarro, May Zindel, Rita Granados, Jordan Rangel, Yelte Castro and Kenji Alvarado, she developed the installations Ukiyo-e Deriva and Alba, paso de sombras (Alba: Shadows Passing). For Ukiyo-e Deriva, they produced more than 500 jellyfish in corn leaves, amate paper, and cotton yarn, which were presented with video mapping at Casa de Arte El Leñero in Mexico. With Alba: Shadows Passing, the El Carmen former convent in Guadalajara was involved in interactive light and sound structures, in commemoration of the International Year of Light in 2015.