His work today is primarily held by French and Hungarian institutions, as well as museums, galleries and private collections both in France and abroad.

His interest centered around figure drawing, but, dissatisfied with the local traditional art training (which consisted of copying sculptures in plaster and modeling wild flowers out of clay), Csaky and fellow students left the school to study in the workshop of the photographer-painter László Kimnach, in Buda.

He made a living by doing odd jobs: working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week.

Among other émigré artists at La Ruche were Alexander Archipenko (who arrived in Paris the same year), Wladimir Baranoff-Rossine, and Sonia Delaunay (Terk).

In the early years of the 20th century, other artists who lived there for a time included Guillaume Apollinaire, Ossip Zadkine, Moise Kisling, Marc Chagall, Max Pechstein, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaïm Soutine, Robert Delaunay, Amedeo Modigliani, Constantin Brâncuși, and Diego Rivera, attracted to Paris from across Europe and Mexico.

[2] Csaky's work of this time is already distinguished by a Cubist understanding of volumetric and spatial relationships, with the integration of armature and open space, and the rhythmic use of geometry.

He had already met Guillaume Apollinaire but was never as close to either of them as to Archipenko, Henri Laurens, Jacques Villon, Raymond Duchamp-Villon, and Jean Metzinger.

[10] In 1911, Csaky exhibited his Cubist sculptures at the Salon des Indépendants (21 April – 13 June) with Archipenko, Duchamp, Gleizes, Laurencin, La Fresnaye, Léger, Picabia and Metzinger.

Four months later Csaky exhibited at the Salon d'Automne (1 October – 8 November) together with the same artists, in addition to Modigliani, Lhote, Duchamp-Villon, Villon and František Kupka.

The following year Csaky showed with the Cubists at the 1912 Salon des Indépendants (20 March – 16 May): with Archipenko, Gleizes, La Fresnaye, Laurencin, Le Fauconnier, Léger, Lhote, Zadkine, Duchamp, Constantin Brâncuși, Wilhelm Lehmbruck, Robert Delaunay, Juan Gris, Piet Mondrian, Alfréd Réth, and Diego Rivera.

Csaky participated in the Salon d'Automne of 1912 (1 October – 8 November) with the Cubists: Duchamp, Duchamp-Villon, Gleizes, La Fresnaye, Le Fauconnier, Léger, Lhote, Marcoussis, Metzinger, Picabia, Villon and Kupka.

Returning to Paris after the war, Csaky began a series of works derived in part from the machine aesthetic; streamlined with geometric and mechanical affinities.

Nothing in early modern sculpture in comparable to the revolutionary work Csaky produced in the years directly succeeding World War I.

(Balas, 1998, p. 27)[1]These 1919 works (e.g., Cones and Spheres, Abstract Sculpture) are made of juxtaposing sequences of rhythmic geometric forms, where light and shadow, mass and the void, play a key role.

They allude, occasionally, to the structure of the human body or modern machines, but the semblance functions only as "elements" (Reverdy) and are deprived of descriptive narrative.

Csaky's polychrome reliefs of the early 1920s display an affinity with Purism—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures.

In 1921 Rosenberg organized an exhibit entitled Les maîtres du Cubisme, a group show that featured works by Csaky, Albert Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Georges Braque, Auguste Herbin, Gino Severini, Georges Valmier, Amédée Ozenfant and Léopold Survage.

"In their aesthetic order, lucidity, classical precision, emotional neutrality, and remoteness from visible reality, they should be considered stylistically and historically as belonging to the De Stijl movement."

He began to work with Marcel Coard, a dealer and gallery owner who from 1924 onward bought Csaky's sculptures in order to cast them in bronze.

Waldemar George, the Polish-French art critic, writes in 1930 of Csaky's departure from abstraction: "The cube, the polyhedron with right angles with its abrupt edges, are replaced by ovoids and spheres.

"[1] Csaky continued exhibiting from the 1930s onwards; he was shown internationally, with shows in France, Germany, the Netherlands, Brussels, Hungary, and Luxembourg.

After fighting alongside the French underground movement against the Nazis during World War II, Csaky faced many difficulties: health issues, family problems and a lack of work-related commissions.

"Today, however," writes Edith Balas, "in a postmodernist atmosphere, those aspects of his art that made Csáky unacceptable to the more advanced modernists are readily accepted as valid and interesting.

"[1]On 30 October 2017, a rock crystal and obsidian sculpture by Csaky, titled Tête (Head), was purchased at an auction at Sotheby's Paris for $1,077,004 (925,500 EUR), a world record for the artist.