Cheng's work is characterized by its complexity, layering, patterning, geometry, contrast of light and dark, soft and hard edge, and micro/macro.

Cheng moved into a series of geometric abstractions that explored deeper layered space while retaining the pattern and repetition she has used consistently throughout her painting career.

At the new reduced scale, the fine marker line hatching and crosshatching turned the patterning and repetition into a sense of texture.

[11][3][12] In 1987 one of the framed pear paintings was included in a group exhibition titled "Singular Objects" at Art in General in New York City.

[13] In 1989 Cheng was included in "Radiant Fruit: Iconic Still Life" curated by Suzaan Boettger at Trabia Gallery in New York City.

[12] In 1997 Cheng moved in a new direction, away from fruits, to produce a body of work that introduced a new abstract, if referential, vocabulary of geometry, layering, complexity, and references to the cosmos.

[18] Two books, Alchemy and Mysticism by Alexander Roob and a paperback on Chinese Folk Art[17] became sources for a series of paintings spanning the 2000s that addressed Cheng's interest in the mysticism engendered by alchemical notions in the West, and the prevalent beliefs and superstitions that held such strong, long-term sway in China.

The impact of her work comes from the color, use of materials, ornamentation, repetition, elegance, a balance of stillness and movement, and an energetic sense of joy and optimism.

Many of her commissions are sited at public transportation hubs such as airports, subway stations, bus terminals, or streetcar shelters.

Her award winning projects embrace a variety of media and include: Howard St. El Station, Chicago, IL;[26] Cheng is a Professor Emerita of the Art Department, State University of New York at New Paltz.