[7] Feitelson's dynamic approach to composition and broad ranging interests in the international art scene inspired Lundeberg.

Using her painting Plant and Animal Analogies as a case study and an ideal, Lundeberg wrote the New Classicism manifesto.

[10][11] From 1936 to 1942, Lundeberg was employed by the Works Progress Administration's Federal Art Project, for which she produced lithographs, easel paintings, and murals in the Los Angeles area.

[2] Lundeberg's mural, History of California, covered three walls of the city council chambers with scenes ranging from the arrival of Spanish explorers to the rise of Hollywood.

[2] Also under the auspices of the WPA, Lundeberg completed the mural History of Transportation near the southern border of Edward Vincent, Jr. Park in Inglewood, California.

[15] It includes images of people from all walks of life employing various means of transportation from carriages and steam trains to automobiles and airplanes.

[2][15] During the 1950s, Lundeberg moved towards geometric abstraction and Hard Edge painting and away from the representational sensibility that had informed her early work.

Repeatedly described as formal and lyrical, Lundeberg's paintings rely on precise compositions that utilize various restricted palettes.

Lundeberg and Feitelson were part of a loose group of Post-Surrealists that also included the artists Grace Clements, Philip Guston, Reuben Kadish, Harold Lehman, Lucien Labaudt, Knud Merrild, and Etienne Ret.

[2] In the 1960s and 1970s, Lundeberg continued her journey through abstraction, exploring imagery associated with landscapes, interiors, still life, planetary forms and intuitive compositions.

Her work was most recently included in the J. Paul Getty Museum's Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950–1970, and in the Los Angeles County Museum of Art exhibition titled In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States.