Citret has worked on many photographic projects over the course of his career, and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York's Catskill Mountains. In the mid to late 1980s he produced a large body of work with the working title of "Unnatural Wonders", which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing "Coastside Plant", a massive construction site in the southwest corner of San Francisco. Since he moved to his current home in Daly City, California in 1986, he has been photographing the ever changing play of ocean and sky from the cliff behind his house. Currently he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus.
He has taught photography at the University of California Berkeley Extension since 1982 and the University of California Santa Cruz Extension since 1988, and for organizations such as the Center for Photography at Woodstock, the Ansel Adams Gallery, and Santa Fe Workshops. His work is represented by prominant photography galleries in the United States, and is in many museum, corporate, and private collections, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the New Orleans Museum of Art and the Santa Barbara Museum of Art, among others. A monograph of his photographs, Along the Way, was published by Custom & Limited Editions, San Francisco, in 1999.
Most of Citret's work is not specific to any locale or subject matter. Mark Citret fits his lifetime’s work into the genre of landscape photography, but in a rather non-traditional use of the word “landscape”. Mark states in his essay, Architectural Geology, “A landscape is to human experience what a stage set is to a play.”
“In this spirit, I consider myself to be a landscape photographer, and all of the photographs in this exhibit to be landscape photographs. One might question how a fork, knife, and spoon on a paper napkin on a cafe table might be a landscape in the same sense as a mountain lake or even a construction site. But for me they are all parts of the fascinating visual backdrop to our lives. Regardless of their physical scale or their origins, I find them all to be equally demanding of attention, and all equally capable of imparting meaning.”