[6] By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the Experiments in Art and Technology (E.A.T.)

That collaboration produced a series of computer-animated films, each built from the output of visual generative algorithms written by Knowlton and edited by Schwartz.

By 1975, Schwartz and Knowlton, in collaboration, had made ten of the first digitally created computer-animated films to be exhibited as works of fine art: Pixillation, Olympiad, UFOs, Enigma, Googolplex, Apotheosis, Affinities, Kinesis, Alae , and Metamorphosis.

[1] In further experiments along these lines, she removed the gray tones in Leonardo da Vinci's self-portrait and superimposed the Mona Lisa eye over it.

Not everyone is convinced by her argument for the identity of Leonardo da Vinci and the Mona Lisa; one common counter-argument is that the similarities are due to both portraits having been created by the same person and therefore bearing the hallmarks of a characteristic style.

Additionally, though the drawing on which Schwartz based the comparison is held to be a self-portrait, there is no firm historical evidence to support this theory.

[citation needed] In a similar experiment, Schwartz used a custom ray-tracing program to investigate the perspective anomalies in the drawing of da Vinci's fresco painting of the Last Supper.

[17][18] Schwartz was called a pioneer in "establishing computers as a valid and fruitful artistic medium" by physicist and Nobel laureate Arno Penzias and a trailblazer and virtuoso by the philosopher-artist Timothy Binkley.

[20] In 1984, Schwartz created a computer-generated TV spot that for the newly renovated Museum of Modern Art in New York; the public service announcement won an Emmy Award.