[5][6] In Bombay, the artist couple struggled to make their way, selling pieces of family jewellery and sometimes depending on the assistance of friends for a place to stay and store their works.

[7][8] Prabha's signature formal style evolved after her marriage to B. Vithal, when she moved from a modern abstraction to more decorative figuration.

Prabha's graceful, elongated figures of rural women spotlighted their lives, labour, and the very real contemporary threat of drought, hunger and homelessness.

Prabha walked into Air India's art department and asked if the company would buy some of her paintings of Indian women.

The collection, which started with Prabha, aimed to put a little bit of India, both past and modern present, into the booking offices and spaces of the airline worldwide.

[5] In 1962-63, B. Prabha was part of a small group of acclaimed young artists invited to participate in a competition process to create the single most significant work commissioned by the TIFR - an over 13 foot mural to be executed in the building's central foyer.

Husain, B. Prabha's proposed painting (Black Moon, 1963) in maquette form, continues to be on display nearby.

Prabha's work was also part of the group exhibition 'Contemporary Indian Painters' at Jehangir Art Gallery in Mumbai in 1996.