[1] Her work is included in the Centre Pompidou in Paris, the Slovak National Gallery in Bratislava and the Tate in London.

[9] Opening week of her monograph exhibition entitled "Maria Bartuszová" at TATE Modern Gallery in London 20th Sept. 2022, was accompanied with large press attention.

While Bartuszová remains a relatively unknown Slovak sculptor, her artwork was presented to the general public during documenta in Kassel in 2007[10] (curated by Roger M. Buergel, Ruth Noack).

Her artworks in the second half of the 1960s were influenced by her individual vision of constructive geometric tendencies connected with new materials such as cut aluminium.

From the 1980s, her work was dominated by pure, ovoid forms, such as hollowed eggs and shells, and idealized shapes that had been subjected to deformation – crushing, squeezing, breaking, and tying, such as oval forms of fragile plaster matter, constrained with string, and sometimes weighted with small stones.

In her works produced after the mid-1980s, Bartuszová began to employ a singular method of obtaining plaster casts by means of a signature technique, called "pneumatic shaping".