Greenfeld’s work has been exhibited in London, Singapore, Korea, New York, Israel, Slovenia and Amsterdam. Recently she had a solo exhibition at Bradwolff Projects, Amsterdam in cooperation with with BijlmAir CBK Zuidoost where she was a resident. She was an artist in residence at Lasalle College of the Arts in Singapore (2012), and a residence at TobacÌŒna 001 Cultural Center Ljubljana, a collaboration with the Centre for Digital Art in Holon, where she had a solo show (2016). Greenfeld received the Rabinovich Foundation grant in 2015 and in 2017 for solo exhibitions. She received a grant from the Resisim Association for 'Snow Table' at Hansen Gallery Bezalel (2015) and was awarded research grants from Asylum Arts, Via Sabra LTD for ‘The Sweet Water Canal’ solo exhibition that was exhibited at Art Cube Gallery in Jerusalem (2017). From 2016 through 2018 she received the Artist-Teacher Scholarship for teaching art at the Center for Arab-Jewish Youth at Risk in Jaffa. In 2018 she exhibited, at The Museum of Islamic Art and at Architect House, Jaffa both supported with grants for a new artwork, at the 10th Fresh Paint Art fair and at the Gamma International Invited Exhibition, Yonsei University, Seoul. ​
In her art, Hili Greenfeld connects fragments of private memory to cultural narratives in paintings and shrine-like installations. These works consist of imitations of relics – objects that testify both to our desire to capture time through the objects that persist through it, and our inability to finally make peace with the change and decay that time brings. We can perceive and handle time only indirectly: by recalling memories, telling stories, performing rituals and keeping objects that bear traces of the past. Though memories are elusive and private rather than concrete and public, these scenes reify personal memories and thus enable them to be shared
By combining and layering different materials – wood, plaster, plastic, concrete, metal, pigment, paint, the paintings and space simulate the layers of time, evoking a tactile sense of the fragility of history. By recycling parts of one painting or installation in another one, the body of work as a whole partakes in a cycle of memory and cross-references, creating a labyrinth of remains.​​