Since her work was multimedia in character, the beginning of the 1970s saw her participating in the visual arts, theatre and music scenes in connection with organizations including the Youth Platform (Tribina mladih) in Novi Sad, the theatre Atelje 212 in Belgrade, the Extended Media Festival (April Meetings) (Festival proširenih medija, Aprilski susreti), and the Avant-Garde Music Biennial and Genre Film Festival in Zagreb. She exhibited at visual poetry festivals (Utrecht, Amsterdam, etc.), participated in the "mail art" movement, and she also—owing to her expressive, self-reflexive and feminist performances—became widely known outside the gallery scene. She belonged to the "new art practice" and was a member of the conceptual group Bosch and Bosch from Vojvodina. She is one of the original protagonists of body art and performance in former Yugoslavia, and her role has been emphatically emancipatory. Her recent performances are described by Miško Šuvaković, author of the study Moć žene – Katalin Ladik (The Power of Woman – Katalin Ladik), as postmodern performances of the spectacle.