At the invitation of Rafael Trujillo, the then-dictator of the Dominican Republic, Hurtado and de Solar moved to Santo Domingo to start a newspaper.

[17] In 1972, Hurtado participated in a feminist-focused group exhibition, “Invisible/Visible,” at the Long Beach Museum of Art, which was organized by Judy Chicago and Dextra Frankel.

Though Hurtado participated and shared feminist beliefs with many groups, when asked to join a West Coast chapter of the Guerilla Girls, she declined.

Ryan Good, former studio director for Lee Mullican, Hurtado's third husband, was cataloguing his estate when he came across a number of paintings signed "LH".

[1] Good showed these paintings to Paul Soto, founder of Park View Gallery, who then launched her second ever solo exhibition, Luchita Hurtado: Selected Works, 1942–1952, which ran from November 12, 2016 – January 7, 2017.

[22] Eventually her work caught the attention of Hans Ulrich Obrich, a Swiss art curator and artistic director of the Serpentine Galleries in which she had her first international solo exhibition, titled Luchita Hurtado: I Live I Die I Will Be Reborn.

[23] Hurtado engaged with different styles and drew elements from 20th-century avantgarde and modernist art movements such as surrealism, abstraction, and magical realism.

Some of her later paintings and works on paper added block-lettered texts, like “Water Air Earth,” “We Are Just a Species, and “Mother Nature,” to her signature images of figures in wide, open-armed stances, who seem to be merging with the trees around them.

[27] Of her artworks depicting nude women, Christopher Knight, a Los Angeles Times art critic said of her work, "her drawings' loosely Surrealist forms recall dense pictographs from a variety of cultures, ancient and modern.

"[5] Novelist and critic Yxta Maya Murray, of Artforum, described her works depicting nude women as being "less about the pleasures and trajectories of [the] body than about its suspension in otherwise throwaway moments.

"[1][22] Writing about her work, curator Hans Ulrich Obrist said that, "[Hurtado's] masterly oeuvre offers an extraordinary perspective that focuses attention on the edges of our bodies and the language that we use to bridge the gap between ourselves and others.

By coupling intimate gestures of the body with expansive views of the sky and the earth, Luchita maps a visceral connective tissue between us all.