Bakhshi's installations and sculptural works deal with the aesthetics of post-revolutionary Iran. Drawing inspiration from the political and social issues that surround him, he attempts to propose direct answers to the situations he observes in Iran by looking for connections with the historical past of his country. Composed of a distinctive combination of ideological Islam, industrial capitalism and the liberational iconography of the 1979 Revolution, his practice represents a struggle between an art that is self-conscious of its independence and the propaganda of the state.

Around a decade ago, Bakhshi began integrating everyday objects from Iran into his work, objects that had acquired a political character beyond their banal everyday usage. Bahman cigarettes, for example, which are a low-quality commodity popular in artistic circles and amongst Iranian non-conformists became a great source of inspiration for the artist. In addition to referring to the cigarette brand, Bahman is also the name of the eleventh month in the Iranian calendar – the month of the 1979 Revolution – as well as an iconic movie theatre located around the corner from Revolution Square in Tehran.

Bakhshi often includes recycled material and ready-mades in his work, as they add to the conceptual approach of his practice. The form, process and content of his works are what together emulate his message. Here, the detailed patterns in his cigarette installations are reminiscent of Islamic architecture, the idea of repetition and the chosen material he recycles hint to the times he grew up in, and the idea of insistence representing hope in a hopeless situation. Bakhshi has participated in the 53rd Venice Biennale and his work is in the collection of TATE Modern, London.