She was selected to take part in the Oklahoma Summers Arts Institute in 1988 and 1989, where she studied modern dance at Quarts Mountain under the tutelage of Pat Catterson.
She was then invited by the Oklahoma Arts Institute to assist their Public Relations department, where she had the opportunity to visit the photography exhibit Christopher James, an internationally known photographer.
She documented a dance studio that offered free classes to inner-city children, a historic jazz club called Wally's that was part of the Chitlin' Circuit, backstage at Bobbi Brown cosmetics shows, helping a photographer at a Bishop Desmond Tutu wedding, and honing her craft by using street photography to capture city life.
Her career as a freelance journalist for newspapers and school systems began when she settled in the Dallas/Fort Worth region, where she photographed babies, sports, and weddings.
[12] Bayou Baroque: The mixing of materials to reveal historical topics is exemplified by this 2015 exhibit honoring the nuns at the Sisters of the Holy Family Mother House in New Orleans, Louisiana.
At the same time, the works echo the flowered backgrounds of Kehinde Wiley’s contemporary portraits, but bring a domestic twist to the flat plains.
[15] 5 Paperdolls: A Contemporary Tale: This exhibition, first shown in 2020, is a body of works created by Huckaby inspired by the 16th Street Baptist Church bombing of September 15, 1963.
They participated in exhibitions, public lectures, workshops, a procession, and educational events that explored themes linked with the 19th amendment or celebrated women who were influential in their lives or society.
The show focused on the cross-sectionality of the artists as they explored subjects such as the creating of real and imagined spaces, connections and relationships with landscapes and power, the concept of time and how it is perceived, and thoughts of home, family, immigration, and a sense of place.
The seven artists involved showed works that responded to John Quincy Adams Wards' bronze sculpture The Freedman, depicting a man on the cusp of liberation, his chains broken but still around his wrists, as though a reminder of his enslavement.