[6] The family moved to Montreal and then to Halifax, Nova Scotia, where Craig attended Dalhousie University starting in 1961.

[9][8] Craig and Metcalfe moved to Vancouver around 1971, where, along with friends and fellow artists Michael Morris, Vincent Trasov and Glenn Lewis, and composer Martin Bartlett, and architect Mo Van Nostrand, writer Henry Greenhow,[4] they bought the space called the Knights of Pythias Lodge[10] at 303 East 8th Ave,[1] that became the Western Front in the Mount Pleasant area of Vancouver.

Craig was passionate about her administrative and facilitative duties at Western Front, including vigilant record keeping, and believed it to be an integral part of her artistic practice.

[16] Craig spent the late 1990s preparing for a major retrospective of her work at the Vancouver Art Gallery, entitled Skin.

[19][20] Eric Metcalfe was a fine arts student at the University of Victoria and Craig was drawn to his circle of artists and performers.

Describing it as "undoubtedly a collaboration with Eric Metcalfe in the context of their marriage and shared lifestyle," she forged this persona as a distinct expression within their artistic partnership.

The concept of camouflage, embodied by the leopard print motif present in both Craig and Metcalfe's works, carries nuanced implications.

While Metcalfe's exploration, concealed beneath his persona, delved into uncovering repressed aspects of his identity, Craig's engagement with camouflage took a different trajectory.

Her approach involved unmasking socially constructed gender norms through the tactic of masquerade, a notion later theorized by Mary Ann Doane.

Among the women who have been actively involved with the Western Front over the years are: One notable collaboration of Craig's is the performance "Back up," which she co-created with Margaret Dragu.

This performance encompassed a variety of activities and narratives, challenging gender stereotypes and exploring new roles enacted by women.

Without overtly political themes, Craig and Dragu portrayed the lifestyles of schoolgirls, pool-hall tough girls, scientists, upper-class debutantes, and domestics.

[16] The Western Front continues to support exhibitions, concerts, workshops, performances, and maintains an extensive media archive.

[44] In the spring of 2016, the Western Front Archives received a significant donation from Hank Bull: the Kate Craig fonds.

Among the contents are original costumes, intricate embroidery pieces, photographs capturing pivotal moments, ephemera documenting various events, press releases and clippings offering insights into her reception, meticulously kept sketchbooks and drawings showcasing her creative process, artworks reflecting her artistic vision, and a comprehensive collection of video and audio recordings capturing her performances and explorations.