Using several art media, including performance pieces and a method called "danced painting", she depicted social outcasts, and she portrayed Petra during opening and the closing ceremonies at the 1992 Summer Paralympics.

[7] In one instance while carrying out a piece that included a series of photographs, she wore makeup that modified the appearance of her face, following a comment from a professor that she was a "walking performance".

[7] Describing her approach as "transition and not identity", the philosopher and art curator Paul B. Preciado says that while she used her feet and mouth to paint, the unique habitation of her body (transgender and disabled) allowed her to create an interdisciplinary movement, not only visual or performance.

[20] The Chilean writers Roberto Bolaño and Pedro Lemebel wrote about Böttner in their novels Estrella Distante (1996) and Loco Afán (1996), respectively.

[23] According to Latin American studies scholar Carl Fischer, Bolaño's writing focused more on "what she failed at and hid" than "what she revealed", and he used her to demonstrate the types of people he thought were excluded from the Chilean literary canon.

[23] For Lemebel, Böttner served as one of his crónicas (chronicles) of LGBT life in the dictatorship of Augusto Pinochet, able to resist heterosexism and militarism through her "unfolding" of gender expectations.

[24] She was a central character in scenes of Frank Garvey's film Wall of Ashes (2009), where she easily cleaned and refilled a pot using her feet.

[25] According to Fischer, Böttner saw carrying out normal actions (such as cleaning dishes) as her principal art form, since ones perception of her disability forced her to become a kind of exhibitionist in doing everyday tasks.

[30] While she did not receive widespread recognition for her work during her life, in 2024, journalist Cassidy George describes her as increasingly "recognized as a significant contribution to the art-historical canon, in part for its radical representation of atypical bodies".