[2] Rosenthal's pseudonyms are "Homo Futurus," which was taken from the title of one of her books,[3] and "Cassandra-on-the-Hudson,"[4] which alludes to "the dangerous world she envisions"[5] while creating art in her studio and residence on the Hudson River in Greenwich Village, NYC.

[8] Rosenthal attended the Brooklyn Museum Art School, studying figure drawing and painting with instructor Isaac Soyer.

During her years as an art student and teacher, Rosenthal supplemented her earnings as an assembly-line-painting artist; as a photojournalist stringer for The Village Voice, East Village Eye, and The New York Post; and as a go-go dancer at clubs including Metropole Cafe and Club Mardi Gras in Times Square, New York City.

[1] Her fiction, like her visual art, presents a grim worldview, depicting surreal surroundings in which a lone individual faces incomprehensible situations.

[17] It is in the medium of Performance Art where Rosenthal's themes of individuality, human identity and time are shared with her viewers most directly.

[1] Her performances usually mix installation, projected photographic images, text, video, mediated voice, music, and abstract sound.

In 1984, she began staging such actions, although still for video, sometimes with other performers, sometimes cutting segments together, such as the 1984 piece Colors and Auras, with poet Hannah Weiner and Sena Clara Creston, age 2.

[20] In 2005, Rosenthal crashed the Performa05 Festival in NY with Existential Interact wearing her image-text "Button Pin Shirts" and handing out Provocation Cards in front of the Guggenheim Museum and White Box Gallery in New York.

[25]) In 2013, Rosenthal began experimenting with video morphs, and included this technique in performances of I’m Growing Up, at Grace Exhibition Space in Brooklyn, NY; and at AudioPollen in Brisbane, Australia.

It comprises categories she calls Free Birds, Renegade Horses, Trapped Figures, Tiny Houses, Strange Neighborhoods, Aberrant Trees, Dangerous Forests, Sinister Landscapes, Eerie Locations, and Dark Continents.

[34] In 1988, her videos Leah Gluck: Victim of the Twins Experiments and Women in the Camps were shown in installation at The Jewish Museum, New York.

[5] In a videotaped 1992 panel discussion with critic Ellen Handy about art-making at The Gallery Of Contemporary Art in Fairfield, Connecticut, she enumerated many "dictums that guide [her] production: that pattern serve as color; that as few materials are used as possible; that as little space is used as possible; that there be no embellishment or superfluous element of design; that a work be visible and present new elements at every distance; that it engage a viewer differently from separate vantages; that it reach several centers of the psyche simultaneously; so a viewer is left room to freely associate; that mystery is always present; that it does not advocate; that it does not mimic past successes; that it can maintain its veracity in an imaginary room of great works; that it be available to everyone and that it be both produced and priced at lowest possible cost.

The largest holdings of Rosenthal's works in Europe are at Artpool Art Research Center,[41] and the Tate Britain Library, London, England.

[43] Her archives, including over one hundred volumes of workbooks and Journals, and fifty drafts of her unpublished novel, "Wish For Amnesia", are currently housed at eMediaLoft.org, NYC, and bequeathed to the Special Collections of the Hunt Library at Carnegie-Mellon University, upon her death.

[50] Rosenthal received a Medal of Honor from the Brussels Ministry of Culture, Brussels, Belgium, in 1990; Rosenthal received a Global Village Documentary Festival Award in NYC, 1983; listing as a Fiction Writer, Poet, and Spoken Word Artist by Poets & Writers, NYC, since 1986;[51] and elected membership in Pi Delta Epsilon National Publications Honor Society, USA, in 1970.