Kaish created monumental sculptures in bronze, aluminum, and stainless steel, which remain on view in educational, religious, and commercial settings across the United States and internationally.

In addition to working in painting, etching, and lithography, she sang with the National Conservatory chorus in Mexico City and rode with the Mexican Olympic riding team.

[4] Upon completion of her undergraduate studies, Kaish pursued an MFA from Syracuse University, which she attained while working under the mentorship of Croatian sculptor Ivan Meštrović in 1951.

[9] In 1951, Kaish's stone carving Mother and Child was chosen for inclusion in the Metropolitan Museum of Art's American Sculpture exhibition.

Mother and Child was made from Onondaga bluestone, which Kaish discovered in the wreckage of a Syracuse post office and purchased from the demolition's foreman at a price of $3 per ton.

She travelled through England, France, and Belgium before settling in Italy and attending the Istituto Statale d'Arte di Firenze in Florence, where she studied stone carving and bronze casting from 1951–1952.

Diverse creative achievements characterized this period of her life, including her solo exhibition at the SculptureCenter--Luise Kaish, Bronzes, which garnered enthusiastic reviews—and an invitation to participate in the Museum of Modern Art's Recent Sculpture USA in 1959.

[13][14][15][16] In a review of her solo show at the SculptureCenter, Robert Dash asserted, "A sudden sense of epiphany and the blistering pain of revelation infuse with grandeur forty-six exquisitely cast or welded bronzes and coppers.

Miss Kaish (who studied with Maestrovich [sic] at Syracuse and who now returns from Italy after the completion of a Tiffany grant) believes that 'the poetry of creation expresses the striving of man after God and his desire to form a continuous pattern of identification with the source of all being.'

Not long after finishing her work on the B'rith Kodesh ark, Kaish undertook another major commission for the Christ in Glory at the Holy Trinity Mission Seminary in Silver Spring, Maryland, designed by architect James T. Canizaro.

[21] In the following year, Kaish had her first one-person show of sculpture at Staempfli Gallery, and she began to explore themes related to light, space, and voyages.

In the exhibition catalog, Avram Kampf noted, "Freed from its fixed collective symbolism, these sculptures represent an inward voyage into the hidden recesses of the artist's self, following its delicate and secret movements .

"[25] Following her return from Rome and a residency at the MacDowell Colony, Kaish's work took a new direction: "In the seventies she turned to canvas--layering, scarring, even burning it--attacking it as a sculptor would to give it three dimensionality.

[11] Major commissions from a variety of organizations and architects also led Kaish to create ark doors, memorials to the Holocaust, menorahs, and Christ figures.

A work dating early in the sequence on exhibition reveals a sculptor's sensibility in its architectonic structor of overlapping planes, ambiguous spaces, and sensitivity to the mass of thin canvas stripping.