Georgie Nettell’s practice could be defined as a revisiting of the tactics of institutional critique in a post-Fordist, neo-liberal present when the artist as creative worker is deemed role model for everyday life. Through various mediums including painting, photography, sculpture and video, Nettell has critiqued the value of art work in the gallery, the artist as producer, the aesthetics of minimalism and abstraction, the creative worker in the home, and what she has called the “fascism of everyday life”, often demonstrating the very process of critique and what is being critiqued in the doing.

Nettell’s work, in performing the now familiar ironic turn towards one’s own complicity in the reproduction of voracious consumer capitalism, bears an aesthetic equivalent to the work’s instigating problematic: the near-monochromatic lifelessness of a repackaged and repurposed disobedience.

Her major solo institutional exhibition at Kunstbunker Nürnberg was in 2018. Nettell has presented four solo exhibitions with the gallery, as well as duo collaborations with program artist Morag Keil. In her 2024 solo exhibition, I Wasn't Expecting To Enjoy This And I'm Not, Nettell installed a stock-market portfolio of large scale balloons filled with a mixture of air and helium.