A memorial exhibition of her work was held at the Royal Academy in 1984 followed by solo shows in Italy, Abu Dhabi, Bahrain, Switzerland, and Britain.

Berenice Sydney was included in ten group exhibitions between 1963 and 1975 and held eleven solo shows, in addition to being invited to represent Britain at the Biennale della Grafica d'Arte in Florence in 1974.

Her first professional exhibition was held at the Drian Galleries in 1968 and included Susanna and the Elders with Charlie the Pigeon, Coffee Pot and 3 Yellow Flowers and The Drummer Boy.

Responding to the exhibition Salute to Berenice Sydney held at the Royal Academy Max Wykes-Joyce wrote:[3] In the Spring of 1968 I was much charmed by a first one-person show at the Drian Galleries of large, lively paintings which evidenced the artist's interest in dance and music, and a group of black and white drawings on mythological themesm [sic?]

show of her work were in turn singled out for admiration in Arts Review by Marina Vaizey, Pat Gilmour, Oswell Baakeston and Charles Bone.

She was continually researching new means of printmaking and mixed media works, each kind of which is represented in this, her memorial exhibition.Sydney's work developed from representational to semi-abstract, and she soon established her style in purest abstract form starting with tiny delicate Persian Garden designs, miniatures in naturalistic colours that become abstract etchings: Bakhtiari, The Sultan's Garden, Shirvan Kabistan II, Hachly Moons, Little Squares, Saruk, which were exhibited in 1969.

From discernible figures worked in flowing brush strokes her forms became multi-faceted describing movement in hundreds of colour mutations and shapes.

Colour combined with vortex-like compositions, starting from a central point to expand outwards, enabled the artist to explore the kinesthetic qualities of visual experience in a way that relates to Bridget Riley's later work.

The French version of A Book of Fools was purchased by the Bibliothèque Nationale Paris in October 1982 in addition to a number of the artist's earliest etchings, now kept in the Cabinet des Estampes.