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Early influences on her work include her interdisciplinary Classical studies at NYU, engagement in activism, as with the Bread and Puppet Theatre, her work in city planning in San Diego County in the 1980s and Vinalhaven Island, Maine in the 1990s, and the merging of science with aesthetics.
In 1999, Rahmani was a founding member of the Eco-art Dialog, an international collective of ecological art practitioners.http://weadartists.org/changing-aesthetics-creating-teams-3 Israel Forum for Ecological Art
Rahmani has received numerous grants and fellowships including two from the Nancy H. Gray Foundation for Art in the Environment and a 2009 award for her work on water from the Arts and Healing Network.
One of Rahmani's best known works is Ghost Nets 1990-2000 (Tallmer, Kagan, Carruthers, Genocchio), which includes her original theories of environmental restoration and trigger point theory. In 2012, she applied trigger point theory and the "Gulf to Gulf" webcasts to "Fish Story Memphis," a multi-part public art project designed for “Memphis Social,” curated by Tom McGlynn (2013) (Memphis is the Center of the World).
In 2006, Rahmani initiated a series of podcasts, "Virtual Cities and Oceans of If", which segued into webcasts on climate change. She is currently an Affiliate with the Institute of Arctic and Alpine Research at the University of Colorado Boulder, Colorado (UCB), where she has been collaborating with the Director, James White since 2007 on, "Gulf to Gulf," a series of webcasts on global warming with other scientists, artists and thinkers.(Boettger, NY Times, Lippard, Weather Report) Their first collaborative work premiered with Cultura21 in the Joseph Beuys Pavilion of the 2007 Venice Biennale.
In 2007, Rahmani in collaboration with White appeared in the collective exhibition Weather Report, debuting her titled work “Trigger Points, Tipping Points.” Rahmani displayed a series of digital prints that superimposed satellite imagery with textual warnings on the morphing and changing of climate change on the global landscape. Her work embodies a discourse that focuses on the power dynamics of disaster and how rising sea levels will not only effect landscape, but also result in the relocation of communities and refugee migration. Rahmani seamlessly ties together climate change with the themes of class, power, and justice — a conversation not as prevalent in the global warming conversation.
In 2009, Rahmani served as a formal observer for University of Colorado Boulder at the COP15 and blogged about her experience for High Tide, an arts collective based in Liverpool, UK.
Rahmani's current work reflects her interest in the application of mapping analysis, to "explore potential solutions for urban and rural water degradation in large landscapes."
Rahmani's recent work also uses the internet "to perform residencies without the international travel that spews jet fuel over the earth's waters." Virtual Cities and Oceans of If and the ongoing Virtual Concerts address global warming and geo-political conflicts by demonstrating, analyzing and interpreting the local impact of global warming at international real world sites.
As of 2018, Rahmani used her projects "The Blued Trees Symphony" and "The Blued Trees" in order to protect the locations of proposed pipeline constructions in New York, Virginia, and West Virginia through the Visual Artists Rights Act (VARA).
Blued Trees as Policy: art, law, science and the Anthropocene in Art, Theory and Practice in the Anthropocene Edited by Julie Reiss, Wilmington, Delaware: Vernon Press. 2019.
Rocks, Radishes, Restoration: on the relationships between clean water and healthy soil Aviva Rahmani and Ray Weil in Field to Palette Edited by Alex Toland, Jay Stratton Noller and Gerd Wessolek, Boca Raton: CRC Press. 2018.
1000x Landscape Architecture, Germany: Braun. 2009.
The Butterfly Effect of Hummingbirds: environmental triage: disturbance theory, trigger points, and virtual analogs for physical sites in Sustainability: a new frontier for the arts and cultures Edited by Sacha Kagan and Volker Kirchberg, Waldkirchen: VAS-Verlag pp: 264-289. 2008.
Practical Ecofeminism in Blaze: Discourse on Art, Women and Feminism edited by Karen Frostig and Kathy A. Halamka, Newcastle: Cambridge Scholars Publishing, p. 315. 2007.
Blowin’ in the Wind” M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking December 2016. https://ayearofpositivethinking.com/2016/12/17/
The Spirit of Change: Water, Policy and Ecological Artmaking Center for Humans and Nature October 21, 2016 https://www.humansandnature.org/the-spirit-of-change
Blued Trees on the front lines journal excerpts The Brooklyn Rail, November 5, 2015.
https://brooklynrail.org/2015/11/criticspage/blued-trees-on-the-front-lines-journal-excerpts
Blued Trees CSPA Quarterly Issue 12, August 3, 2015.
https://www.jstor.org/stable/cspaquarterly.issue-12 2015.
A Community of Resistance: Collaborative Work with Science and Scientists.” WEAD Magazine (an online magazine). Issue 7, CREATING COMMUNITY, 2014.
https://directory.weadartists.org/communities-art-science
Fish Story Memphis: Memphis is the Centre of the World Journal for Environmental Studies and Sciences online Vol. 4 (2; June 2014): 176–179.
http://link.springer.com/article/10.1007%2Fs13412-013-0150-z
Triggering Change: A Call to Action Public Art Review Vol. 24, Issue 48, Spring/Summer 2013.
https://issuu.com/forecastpublicart/docs/par48_full
Mapping Trigger Point Theory as Aesthetic Activism PJIM, Vol.4, Issue 2, Winter pp. 1–9. 2012.
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