[3] At the age of 17, she immigrated to the United States in 1913, and began to make a career for herself in New York City‘s Greenwich Village, where she established herself as an influential practitioner of modern art and design.

[4] In 1914, Karasz co-founded (with Winold Reiss) the European-American artists' collective Society of Modern Art, and shortly afterwards she was commissioned to create advertising for the department store Bonwit Teller.

The publication also showcased her bold, stylized floral patterns, cover designs, book illustrations, typography, and decorative panels.

From the 1910s to the 1960s, her designs—inspired equally by folk art and modern art—found their way into a wide variety of textiles, wallpaper, rugs, ceramics, furniture, silverware, and toys.

[2] Between 1916 and 1918 she won several prizes (and gained visibility) for textile designs entered in competitions run by the fashion magazine Women's Wear.

[2] In the late 1920s, Dupont-Rayon Company hired her to help improve the texture and feel of rayon and generally raise the production standards for this then-new material.

Her furniture was often rectilinear and strongly planar, inspired by the European De Stijl movement; she also designed a number of multifunctional pieces.

In 1928, she was included in a European-American exhibition put on by Macy's department store in New York, alongside such prominent designers as Kem Weber, Bruno Paul, and Josef Hoffmann.

[5] She had a total of 186 New Yorker covers across those six decades, many of them featuring lively vignettes of daily life viewed from above and drawn using unusual color combinations.

The couple lived in Java between 1929 and 1931, where Karasz complemented her eclectic mix of modern and traditional furnishings with murals that paid homage to the surrounding tropical foliage.