The different offshoots of Tadáskía’s work share a throughline in her affinity with drawing. Simultaneously markings and erasures, her traces in dry pastels, colored pencil, pen or nail polish create graphic tangles that evoke fluttering beings without rendering them recognizable. The torn edges of her paper supports produce a sense of continuity, like a loose-leaf book with its pages in environing space, fusing word and image. In reliefs made of folded sheets and sculptures, the artist declares an emphasis on volume and the distribution of full-bodied forms in space. These compositions reveal beings and structures that seem caught in the midst of mutation.  Her cattail or reed sculptures balance emptiness, transparency and presence in intertwined constellations. In videos and photographs that Tadáskía calls “apparitions”, actions of disguising and transforming the depicted bodies place domestic and familiar environments in a restless state. 

Among her solo exhibitions are brincando animada: travesti mariposa centopeia / animated play: travesti moth centipede, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (2025); jour nuit papillon / day night butterfly, Musée d’Art Contemporain de la Haute-Vienne – Château de Rochechouart, Rochechouart, France (2025); Tadáskía and Ana Cláudia Almeida: A Joyner/Giuffrida Visiting Artists Program, Nevada Museum of Art, Reno, USA (2024); Projects: Tadáskía, MoMA – The Museum of Modern Art, New York, USA (2024); As Parecidas, Galeria Madragoa, Lisboa, Portugal (2023); rara ocellet, Galeria Joan Prats, Barcelona, Spain (2023) e Noite dia, Sé Galeria, São Paulo, Brazil (2022).  Tadáskía was a highlight in the 35th Bienal de São Paulo – Coreografias do impossível (2023) and has also taken part in the group shows Histórias LGBTQIA+, MASP – Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil (2024); One Becomes Many, Perez Art Museum Miami, Miami, USA (2024);The Disagreement: A Theatre of Statements, Neue Kunstverein Wien, Vienna, Austria (2024); Direito à forma, Galeria Fonte – Institut Inhotim, Brumadinho, Brazil (2023) 37° Panorama da Arte Brasileira – Sob as cinzas, brasa, MAM – Museu de Arte Moderna de São Paulo, São Paulo, Brazil (2023); Dos Brasis, SESC Belenzinho, São Paulo, Brazil (2023); The Silence of Tired Tongues, Framer Framed, Amsterdam, Netherlands (2022) e Eros Rising: Visions of the Erotic in Latin American Art, ISLAA – Institute for Studies on Latin American Art, New York, USA (2022). 

The artist has works in important public collections, such as MoMA – The Museum of Modern Art, New York, USA; Solomon R. Guggenheim Museum, New York, USA; Tate Collection, London, UK; Kunstsammlung Nordrheim-Westfalen, Düsseldorf, Germany; Pinacoteca do Estado de São Paulo, São Paulo, Brazil; Instituto Inhotim, Brumadinho, Brazil;MAM – Museu de Arte Moderna de São Paulo, São Paulo, Brazil; MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil; Kadist Foundation, Paris, France, The Nevada Museum of Art, Reno, USA; Fundación Arco Madrid, Madrid, Spain; The Studio Museum in Harlem, New York, USA; Fundación Canaria para el Desarrollo da la Pintura , Las Palmas, Spain; ISLAA – Institute for Studies on Latin American Art and Instituto Cultural Çarê, São Paulo, Brazil.