She has received a strong critical interest from prominent art historians and writers, such as Arthur Danto, Edmund White, Yannick Haenel, Julia Kristeva and Carter Ratcliff.

"[2] Connected to the incredible rich world of the free jazz improvisation, she records in depth many of the most talented musicians, publishing for example the series The flying hands of Cecil Taylor.

In 1970, after finishing art school in France and Italy Lopez-Huici becomes the assistant to Brazilian filmmaker Nelson Pereira dos Santos, widely regarded as the father of Brazil's Cinema Novo.

Following this exhibition, the critic Jeanne Siegel wrote an article about male sexuality seen by women artists and particularly explored Lopez-Huici's involvement in her practice as a photographer : "The experience approaches the cinematic, particularly when a number of single frames are seen together.

[4] To celebrate her fiftieth birthday and in solidarity with her models, Lopez-Huici placed herself before the camera, dancing naked in the 20 minutes film entitled TOAK- 1995.

In 2003, she travelled extensively in West Africa, photographing the African wrestlers Adama and Omar in Dakar, the Master of Ceremonies Keneboubo Ogoïre in Mali, and Les Élégantes from Saint Louis in Sénégal.

These series inspired the following comment by her friend, the critic Edmund White in an essay about her work : "She is in search of images, not the tourist's snapshots (her eye is not that passive) but rather those pictures that contest her own being or confirm her darkest suspicions or brightest hopes about human nature.

In 2004 she had two one-person exhibitions in museums, one at the Musée de Grenoble, France, and one at IVAM (Institut Valencià d'Art Modern), in Spain.

At the New York Studio School in 2007, Lopez-Huici showed a selection of her nudes, especially her most recent group series Rebelles and Triumph, with a catalogue written by Carter Ratcliff.

In an insightful text on Lopez-Huici's work written by the writer Yannick Haenel for the exhibition, he noted about her models : "Look at these women : they tear through the screen of convention, they are just not "right," as one says in the U.S. Their solitude is a splendid combat : that of bodies that see themselves rising up, that breathe forward, smiling with their shoulders.

He concluded "To take pleasure [jouir] is to discover the attitude, the gesture, the method that disenchants existence; every instant that breaks with our programmed captivity becomes a victory : and even if the accidents of life have damaged your body, triumph remains possible, frightening, and sublime; it is affirmed here, in the black and white lightning flashes of Ariane Lopez-Huici.

"[9] In 2014, Ariane Lopez-Huici exhibited in Parcours Croisés a duo with Alain Kirili at the Musée des Beaux-Arts de Caen in France.

", Faire Face Magazine, France, June 2010• Deborah Garwood, "Film Review : Ariane Lopez-Huici: The Body Close Up.

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