She is best known for her work in children's theater, creating sets, puppets and theatre companies performing pieces for educational purposes.

[3] She was part of a group of students that included David Alfaro Siqueiros and Andrés Audifred, which rebelled against the traditional teaching methods of the academy.

The couple was prominent in the artistic and intellectual circles of Mexico City which included Diego Rivera, Lupe Marín, Ramón Alva de la Canal, Fermín Revueltas, Germán List Arzubide, Manuel Maples Arce and Arqueles Vela.

[2] It was as this time she assumed her husband's last name as her own (not common practice in Mexico), becoming best known as Lola (diminutive for Dolores) Cueto.

"[4] With the support of the Ministry of Public Education, several groups were formed to perform the Cuetos' puppet shows in schools throughout Mexico, over a period of fifty years.

[1] Lola Cueto was one a few working women artists in Mexico in the early twentieth century, at a time when the field was dominated by men.

[1] One of her major theatrical works was with Silvestre Revueltas from between 1933 and 1935, with a marionette ballet called “El Renacuajo Paseador.” It was presented at the Palacio de Bellas Artes in 1940.

[8] While she lived in Paris beginning in 1926, Lola Cueto began to see her work receive praise unlike any she'd seen for her paintings.

[2] She created the aquatints for a 1947 book by Roberto Lago called “Títeres Populares Mexicanos” (Folk Mexican Puppets).

She also contributed greatly to the book's illustrations, using a small yet vivid color pallette to depict popular and indigenous Mexican culture.

[10][13] Unlike other artists of the era, particularly her female contemporaries like Frida Khaldo, she didn't generate much controversy nor, consequently, much criticism for her work.

Through figurines in puppetry and paper mache of cathedrals, rosaries, and other religious iconography, she poses social commentary on the complexity of things like faith and where it fits in an increasingly secular Mexico.

[6] Charlot was impressed by her work after dropping in on a chance visit, back when Cueto rented an apartment out to Diego Rivera right next door.

Her career also included weaving, watercolors, drawings, graphic work, oils, gouache, along with the design of marionettes, puppets, theatre sets and traditional Mexican toys.

She created a number of tapestries with religious themes such as primitive Christ and Virgin Mary images, rural altars as well as depicting indigenous people.