Farhi's oeuvre has garnered an exciting reputation for questioning, and critiquing the generational farces of zombie formalism while also pays tribute to numerous painters who have come before his time. His works are known for their contemporary translation of classical art forms. This proves his works to be particularly emphatic in their interpolation of history, as he aptly combines the romantic gesture of oil painting with the perceptual trickery and intellectual propensity of conceptual artworks. His "Wine paintings," a series based on marks of oil paint made to look like wine spills, contend an almost alchemical handling of his chosen medium, as well as grant equal importance to timing and placement in his compositional strategy. As a point of political and social reference, the paintings from the series aim to reclaim a new perspective of recounting historical relationships between a figure and its union to an object.
The artist as a painter has poised himself as a vessel for the unknown and for the jovial truths we experience in beauty and in hardship. For example the studio drum paintings make novel use of an instrument’s skin as a circular structure with scuffs, while worn, are intended to be windows of human life and idyllic expression, which we have found to be the most central and eloquent message of the American artist's works and devotions.