[2] As a fluent bilingual, Perkins had a unique cultural advantage among many of the diaspora and used it to assist his friends and fellow artists.
[2] Perkins, while reserved, would gradually emerge to become one of its more well-respected artists, participating regularly in exhibitions and winning multiple awards throughout his career,[4] and continued painting until is death.
Throughout his career Perkins was active in several social circles affiliated with Latin art in the greater Miami area.
[2] Perkins is identified generationally as part of the older wave within La Vieja Guardia ("The Old Guard") of Cuban art that followed the Vanguardia movement and his style reflected their influence.
[2] As such, and in contrast with his mild-mannered, witty, and genteel personality,[10] Perkins' art is known for its moody, heavily saturated colors and figures with a Cuban interpretation of cubism that reflects his embrace of Pablo Picasso through the lens of his cultural heritage.
Cuban art critic and Smithsonian Institution affiliate Giulio V. Blanc described Perkins’ distinct style as displaying "vividly aloof humanoids" with "dark tones.
[14] Perkins had also exhibited in the Miami Museum of Science and had been commissioned by Cardinal Francis Spellman of New York, one of his high-profile clients, to produce a series focused on the Stations of the Cross.
[12] Cuban art journalist Armando Alvarez Bravo compared him to Eduardo Abela and Victor Manuel.