[4] She was a participant in the Harlem Youth Opportunities Unlimited program (HARYOU) where she met instructor Betty Blayton Taylor.

Her work often comments on American culture, including white male patriarchy, by making use of toys, dolls, and miniatures in her art installations.

[4] In partnership with filmmaker Linda Goode Bryant, Henry produced Black Currant, a magazine which highlighted the experimental work of artists who were showcased by Just Above Midtown Gallery (JAM).

[10] In the 1970s, Henry also worked in the Education Department at the Studio Museum in Harlem, where she collaborated with artist Carrie Mae Weems.

[12] The exhibition was widely protested for the racism of this exhibition name by artists including Carl Andre, Howardena Pindell, May Stevens, and Lucy Lippard[13] who saw this incident as a key indicator of the systemic racism within the art world.