She has shown widely in museums, galleries, and sculpture parks across the U.S. and internationally. Also, she has lectured and taught both nationally and internationally at colleges and universities as well as museums and galleries.

Booker fuses ecological concerns with explorations of racial and economic difference, globalization, and gender by recycling discarded tires into complex assemblages. Booker began to integrate discarded construction materials into large, outdoor sculptures in the early 1990s. Tires, resonate with her for their versatility and rich range of historical and cultural associations. Booker slices, twists, weaves, and rivets this medium into radically new forms and textures. The tones of the rubber parallel human diversity, while the tire treads suggest images as varied as African scarification and textile designs. The visible wear and tear on the tires evokes the physical marks of human aging. Equally, Booker’s use of discarded tires references industrialization, consumer culture, and environmental concerns. Booker’s artistic process is enormously physical, from transporting the tires to reshaping them with machinery. Booker received a B.A. in sociology from Rutgers University, NB, NJ, and an M.F.A. from the City College of New York. She gained international acclaim at the 2000 Whitney Biennial with “It’s So Hard to Be Green” (2000), her 12.5 feet x 21 feet x 24 inch wall relief tire sculpture. Booker received the Anonymous Was a Woman Award in 2000, the Pollock-Krasner Grant in 2002 and a Guggenheim Fellowship in 2005. In 2016 “The Liquidity of Legacy” a monumental sculpture was commissioned for the National Museum of African American History and Culture in Washington DC.