Based in improvisational performance, the meeting point between artistic process and social context is a central theme in Agatha Gothe-Snape’s work. It takes many forms: performances (including dance), PowerPoint slide shows, workshops, texts (including correspondence, short poetic texts and headlines both found and improvised), visual scores and collaboratively produced art objects. Her work has included more traditional media such as sculpture in bronze and steel and ink on paper drawings however these objects always have a direct relation to performance. Her work is direct and assertive. Its administrative aesthetic is marked by a minimal idealisation of colour and language and a frontal visual tactility that is emptied of the artist's hand. Her process is without fixed limits and fosters transparency. She gives agency to impulsive responses.The work inhabits spaces that are both physical and non-physical. It occupies thresholds that are negotiable.

In 2017, Gothe-Snape (b. 1980, lives Sydney) presented a solo exhibition, Oh Window, at the Mori Art Museum, Tokyo, her first solo exhibition in Japan and the first time an Australian artist has presented a solo exhibition at MAM. For Oh Window - MAM Project 023, curated by Haruko Kumakura, Gothe-Snape interpreted the view of Tokyo from the Roppongi Hills Mori Tower venue and its immediate surrounds. Along with wall texts, digitally-printed curtains, sculptural objects and new PowerPoint works, Oh Window included two two-channel videos produced collaboratively with Tokyo-based Michiko Tsuda. Gothe-Snape presented a performance program as an adjunct to the exhibition.

For The National: New Australian Art, the new biennial co-hosted by Sydney's Art Gallery of NSW, Carriageworks and Museum of Contemporary Art, Gothe-Snape is undertaking a six year project 'The Fatal Sure/The National Doubt', a long form documentary about Australian art commissioned to link the three venues over three iterations of The National. Gothe-Snape takes legendary art critic Robert Hughes' monologue at the conclusion of Episode 8 of The Shock of the New (1980) as a starting point. For the 2017 exhibition, she presented text works at each of the three venues quoting from the Hughes monologue, for the 2019 exhibition, she will present a three-minute promotional trailer for the documentary and in 2021 the feature-length documentary will be presented.

Gothe-Snape has exhibited in major international biennales including the 20th Biennale of Sydney, curated by Stephanie Rosenthal (2016), PERFORMA, New York curated by RoseLee Goldberg (2015) and the 8th Berlin Biennale for Contemporary Art, curated by Juan A. Gaitan (2014).

Gothe-Snape was awarded the second Biennale Legacy Artwork commission.  The Legacy Artwork commission has been jointly commissioned by the Biennale of Sydney and the City of Sydney. The result of two years' work, 'Here, an Echo' is a large text piece installed in Wemyss Lane, Surry Hills. Its development drew from a series of walks conducted by Gothe-Snape and Brooke Stamp during the 2016 Biennale as an improvisational source as well as engagement with local business owners. 'Here, an Echo' was installed in July 2017.

Gothe-Snape has completed several major public artwork commissions including The Scheme was a Blueprint for Future Development Programs, 2015, at Monash University's Caulfield Campus in Melbourne as well as an interactive POWERPOINT-based work for the Museum of Contemporary Art Australia's National Centre for Creative Learning.

Group exhibitions in Australia include Endless Circulation – TarraWarra Biennial 2016 (as Wrong Solo with Brian Fuata), curated by Helen Hughes and Victoria Lynne; Art as Verb, at Monash University Museum of Art (traveling to Artspace, Sydney) (2014); Trace: Performance and its Documents, curated by Bree Richards, at Queensland Art Gallery | Gallery of Modern Art, Brisbane (2014); Melbourne Now at the National Gallery of Victoria, Melbourne; Reinventing the Wheel: The Readymade Century, curated by Max Delany with Charlotte Day, Francis E. Parker and Patrice Sharkey at Monash University Museum of Art, Melbourne; Octopus 13, curated by Glenn Barkley, at Gertrude Contemporary Art Spaces, Melbourne (all 2013); Contemporary Australia: Women, curated by Julie Ewington et al at Queensland Art Gallery | Gallery of Modern Art, Brisbane; MCA Collection Volume 1, Museum of Contemporary Art, Sydney (both 2012); Power to the People, Contemporary Conceptualism and the Object in Art, curated by Hannah Matthews at the Australian Centre for Contemporary Art, Melbourne (2011); Primavera, curated by Katie Dyer at the Museum of Contemporary Art Sydney and New 010, curated by Hannah Matthews at the Australian Centre for Contemporary Art, Melbourne (both 2010).

In 2013, she exhibited a two-channel video installation and dance score (collaboration with choreographer, Brooke Stamp), Inexhaustible Present, in a two-person exhibition, Taking form, with New Zealand artist, Sriwhana Spong, at the Art Gallery of New South Wales, Level Two Contemporary Project Space (curated by Anneke Jaspers). She was commissioned by the Sydney Harbour Foreshore Authority to create IT HOLDS UP, a temporal, temporary collaborative work with New Zealand artist, Mike Hewson, on the facade of the Museum of Contemporary Art Australia; she exhibited in INexactly THIS - Kunstvlaai: Festival of Independents in Amsterdam as part of the presentation by (Sydney's) Society (aka Susan Gibb); She completed a Drawing Wall project at Shepparton Art Museum (curated by Elise Routledge), had a solo exhibition at The Physics Room in Christchurch, New Zealand and a solo exhibition, Late Sculpture, at The Commercial Gallery, Sydney (all 2013).

Gothe-Snape's work is in the collections of the Art Gallery of New South Wales, Sydney; Campbelltown Arts Centre, Sydney; the Cruthers Collection of Women’s Art at the University of Western Australia, Perth; Griffith University Art Collection, Brisbane; Heide Museum of Modern Art, Melbourne; Monash University Museum of Art, Melbourne; the Museum of Contemporary Art Australia; the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne and the University of Technology Sydney Collection.

Gothe-Snape’s ongoing series POWERPOINTS, is a subscription-based catalogue that is purchased as an entire series (for a one-off fee of AUD 800.00). POWERPOINTS subscriptions are updated periodically with releases of new works at no extra cost to subscribers. POWERPOINTS are a numbered, open edition. POWERPOINTS are supplied to subscribers initially on a customised USB card with updates distributed by email. There were forty-six works in the last release of the POWERPOINTS Catalogue.

Gothe-Snape is actively involved in Wrong Solo, a collaborative performance group that she began in 2006 with fellow Sydney artist, Brian Fuata. From 2013-2015, she was a studio resident at Gertrude Contemporary Art Spaces, Melbourne. She has been awarded a 12-month free studio at Artspace, Sydney, for the duration of 2017.