Rosenfeld's involvement in art happened during the Chilean military coup d'état period. Under this regime, she utilized her artwork to demonstrate how official power and conflict zones submit bodies to the margins and borders. She wanted to be separate from the guarded spaces of art and its market; therefore, she used the streets to perform her work, ultimately interrogating political and cultural spaces. She then associated herself with
neo-vanguardism and the Escena de Avanzada, a movement of artists and writers that appeared on the Chilean art scene after the
1973 Chilean coup d'état. In 1979, along with poet
Raúl Zurita, sociologist Fernando Balcells, writer/artist
Diamela Eltit, and artist Juan Castillo, she formed
CADA (Colectivo de Acciones de Arte) or (Art Actions Collective).
CADA is a collective activist and artist group that used interventions and performance to challenge the
Pinochet regime in Chile throughout the 1970s and 1980s. She has also been involved with
Fluxus, an experimental international interdisciplinary group related to visual arts, music, and literature. Rosenfeld and CADA's work focused on transforming and intervening in public urban space through symbolism, aiming to challenge social political structures and authority. During this period Rosenfeld's work involved performances and video installations. One of her more recent works, a large multimedia installation, is titled
Mocion de Orden (
Motion of Order). ==Una Milla de Cruces Sobre el Pavimento, A Mile of Crosses on the Pavement (1979)==