Muniz began his artistic career as a sculptor and later shifted his focus to graphic arts and photography. Inspired by postmodernist approaches of artists like Cindy Sherman and Jeff Koons, he employs popular images in his works, presenting them in fresh and novel ways. This approach exemplifies a fundamental idea of contemporary art: the significance of concept over mere visual uniqueness.

In his artistic practice, Muniz frequently uses everyday materials and objects—such as sugar, chocolate syrup, wire, and discarded items—to create large-scale reproductions of artworks by world-famous artists. These temporary replicas are captured through a series of high-resolution photographs, allowing Muniz to reinterpret masterpieces by Van Gogh, Picasso, Malevich, Klimt, Mondrian, and Matisse.

Through his art, Muniz introduces audiences to the concept of appropriation in photography and emphasizes the importance of innovative techniques in artistic creation. His work prompts contemplation on the primacy of ideas and the diverse forms of expression. Muniz describes his role as that of an “observer of the skirmish between structuralist and poststructuralist criticism.”

Beyond his artistic exploration, Muniz is committed to the belief that art can be a catalyst for positive change and should not remain confined to elitist circles. His work often serves as commentary on global social and environmental issues, frequently accompanied by documentary reports that highlight social inequality, poverty, and the lack of support for vulnerable groups within society (e.g. ‘Waste Land’, 2010; ‘This is not a Ball’, 2014).

In 2006, Vik Muniz created his famous Pictures of Garbage series. Monumental replicas of old masters’ paintings on the theme of ancient mythology were recreated from garbage found at the largest landfill in the Rio de Janeiro area. Jardim Gramacho was one of the largest landfills in Latin America and a severe environmental problem in the region. Muniz involved waste pickers and landfill workers in the project, who assisted him in finding materials and creating installations. The resulting large-scale photographs served as a powerful commentary on the environmental impact of waste. Alongside the creation of the artworks, Muniz worked on a documentary about life in the Jardim Gramacho area, drawing attention to the harsh living conditions and low social protection of low-wage workers.