Fereday uses a range of media, including digital and analogue photography, installation, video, light and shadow. She is best known for her ‘post-photographic’ installations in which simple materials (papier-mâché spheres, glass bowls and goblets, light and shadow) are employed to invoke the logic of photography without the use of traditional photographic means. She also exhibits found photographs, such as the series Under a Steel Sky, in which her collection of amateur snapshots from the 1950s resembles Robert Frank’s series, The Americans.
Fereday's research and writing is mainly around theories of photography. Her doctoral thesis, Light Out of Darkness: the origin of photography in mystery and melancholy, explored occluded meanings in the early photographs of Nicéphore Niépce and William Henry Fox Talbot.
Fereday's work is held in the following public collection:
- Ella Mudie, ‘Double exposure for faded images,’ The Age A2, 30/8/2008, p. 17-18
- Robert Nelson, ‘Memories lie beyond the surface’, The Age, 25/6/2008, p. 16
- Penny Webb, ‘Following the Customs of the Country’, The Age, 01/03/2005, p. 17
- Ihor Holubisky, 'Susan Fereday at Brisbane IMA', Art & Australia, Summer 2002, pp. 234–235 
- Robert Schubert, ‘Susan Fereday: Sutton Gallery’, Art & Text, #52, 1995, pp. 91–92
- Robert Nelson, ‘Installation poking at hole in halo’, The Age, 17/5/1995, p. 21
- Stuart Koop, ‘Review: Susan Fereday’, Art & Text, #43, 1992, pp. 78–79
- Rex Butler, ‘A Love That Cannot Speak Its Name’, Agenda, #15, 1990, p. 19 
- Patricia Piccinini and Peter Hennessey, ‘Value’, Eyeline, #12, 1990, pp. 43–44 
- Carolyn Barnes, ‘Value’, Agenda, #10, 1990, pp. 22–23