Wagenknecht is known for pioneering the use of drones in painting and other mechanized forms of art in the early 2000s while based in New York.
Her works are often recognized for their experimental co-creative aspects, exploring the relationship between technology and the vulnerabilities of being alive. Previous exhibitions and works held in permanent collections include the Centre Pompidou, Istanbul Modern, Whitechapel Gallery, Whitney Museum of American Art, and the New Museum in New York, among others. She has collaborated with CERN, Chanel, Coinbase, and Google's Art Machine Intelligence (AMI) Group. Her work has been featured in publications such as TIME, The Wall Street Journal, Vanity Fair, Art in America, and The New York Times. Wagenknecht has held fellowships at Eyebeam Art + Technology Center in New York City, Culture Lab UK, Institute HyperWerk for Postindustrial Design in Basel (CH), and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.
Wagenknecht's approach resonates with the critical inquiries of surveillance and the military-industrial complex. Similarly, the works of Harun Farocki, known for his poignant critiques of war and technology, echo in Wagenknecht’s examination of how the online realm influences our understanding of power and violence.
In Liberator Test Rounds, Wagenknecht merges artistic expression with themes of control and ethical responsibility, prompting viewers to reflect on the societal consequences of technological advancements. The piece serves not only as a visual artifact but also as a catalyst for discussion about the role of art in addressing urgent contemporary issues. By situating her work within a broader discourse on technology and conflict, Wagenknecht underscores the necessity for critical engagement with the tools that shape our world, making Liberator Test Rounds a poignant reflection on the complexities of our modern landscape.