Her paintings, prints, and drawings appeared in solo and group exhibitions throughout her career and she received favorable critical attention both during her life and after her death.

[3] In May 1898, Weinrich and her sister Helen, then called Lena, traveled to Germany with their aunt, a German-born music teacher named Rose Werthmueller.

[1] In 1904, the sisters returned to the United States and settled for two years in Springfield, Illinois, where Helen taught piano in public schools and Agnes painted in a rented studio.

According to one writer, the work Agnes produced at this time was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.

When the Knaths visited Burlington a year ago he told how he decided to follow the new contemporary style after watching Agnes Weinrich work in the abstract manner of painting.

[14] At this time, she and the others in the group, including Blanche Lazzell, Ethel Mars, Ada Gilmore, and Edna Boies Hopkins, exchanged ideas and solved problems together.

"[17] In 1919, a magazine called The Touchstone reproduced an untitled Weinrich etching that showed parts of two houses amid trees and behind a fence.

When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share.

[1] In 1925, she became a founding member of the New York Society of Women Artists, She participated in its exhibitions from then until her death in 1946 and sometimes held positions on its board of directors.

[35] One commenter notes that the group provided a platform for its members to distinguish themselves from the "genteel" and traditionalist art that women artists were at that time expected to show.

[1] For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, and others.

[39] In 1998, a Provincetown gallery owner told a reporter that Weinrich's career had three phases: one in which realism predominated; a second in which she employed a semi-abstract style; and a third that was purely abstract.

It and her other pure abstracts are, as feminist collector, Louise Noun pointed out, "composed of hard-edge geometric forms" and, lacking a discernible subject, are nonobjective.

[1] The three phases named by the gallery owner were not chronologically distinct in that Weinrich continued to make realist, semi-abstract, and purely abstract works throughout most of her career.

[32] Writing in 1921, a critic wrote, "Whether they intend it or not, these cubists and their fellow radicals are gradually proving by their work that their function is most legitimately concerned with revivifying applied design and with making it significant of the nervous individuality and independence of the times in which we live."

[43] After 1920, some of Weinrich's paintings show a strong influence of the theoretical writings of Albert Gleizes and another cubist, Jean Metzinger.

"[48] In 2013, a writer described an oil called "Plants and Fruit" and another semi-abstract painting, both held by the Phillips Collection, as "worthy examples of her abstract, vigorous style.

[50] Near the end of her career, a critic for the Christian Science Monitor wrote that Weinrich's pure abstractions contained "planes of color sensitively modulated.

[52] A year later, reviewing an exhibition at the Penguin Gallery in Boston, a Christian Science Monitor critic said she infused the cubist formula with "something like emotion".

[48] In a balanced review of a two-person show held in 1929, a Times critic said her landscapes had "quiet charm" but said her cubist abstracts were "distressingly doctrinaire".

[56] During the last fifteen years of her life, the art press continued its coverage of Weinrich's exhibitions and its critical appraisals of her work.

[22] That year, a third wrote: "Miss Weinrich's prints and paintings ... serve as most excellent examples of the trend of art, away from tradition and toward the realization of new ideals.

To gain clarity, cohesion, [and] contrast, she permits the form to dissolve somewhat, to relax or tighten as the scheme demands; she may prefer to distort or to suppress a shape, or to heighten with thick outline.

In it, the author said her cubist paintings were derivative but, "When she doesn't adhere to the tenets of Cubism, her work explores and moves in an interesting direction."

"[58] Reviewing a retrospective exhibition held in 1998, a critic wrote, "Working in white-line woodcut, oil on canvas, and pencil, Weinrich developed a style of lively colors and forms which have the splashy feeling of modernism without losing a basic sense of structure.

"[40] In her 1996 article about Weinrich, Louise Noun emphasized the difficulties she and other women artists faced in an environment where men attracted more critical attention and sold more works of art.

She wrote, "Woman [as artist] has not had a very long period of unclipped wings in which to practice flying, but even so, she is making good progress in her flight to the stars, where, after all, many of her patronizing critics have not yet arrived either.

[1][40] Weinrich participated in many group exhibitions held by nonprofit organizations such as the Provincetown Art Association and the New York Society of Women Artists.

In addition to the article by Louise Noun,[1] its sources are exhibition catalogs such as those of the Provincetown Art Association,[61] as well as contemporary news accounts, including American Art News,[54] The New York Times,[55] the Brooklyn Daily Eagle,[42] the New York Evening Post,[59] The Philadelphia Enquirer,[24] and The Christian Science Monitor.