She came to prominence in West Berlin during the 1970s with a series of "larger than life" ("großformatige") paintings of births, abortions and surgical procedures.

Oskar Munsky (1910-1945 or 1947), her father, was a young architect who had studied with Hans Poelzig and worked during the 1930s on several high-profile public projects such as the Reichswerke Hermann Göring (industrial complex) and the rebuild of the Olypmpia Stadium underground station.

There are indications that Meina Munsky started a teenage romance with the artist Peter Sorge during their school days, but the two later drifted apart.

Some of the other more prominent members included the artists Hermann Albert, Bettina von Arnim, Ulrich Baehr, Hans-Jürgen Diehl, Arwed Gorella, Wolfgang Petrick, Joachim Schmettau and Klaus Vogelgesang, as well as her husband.

In a newspaper piece dated 2 May 1975 the art historian Katrin Sello wrote, "It is no criticism of the impersonal objectivity of modern gynecology, even if Maina-Miriam Munsky is included among the 'Critical Realists' in Berlin, and belongs to the 'Aspect Group'.

Five hundred works by 190 female artists were on display: those who featured included Louise Nevelson, Paula Modersohn-Becker, Méret Oppenheim, Georgia O'Keeffe, Eva Hesse, Bridget Riley, Käthe Kollwitz, Sonia Delaunay and Gabriele Münter.

They justified the decision to exclude Maina-Miriam Munsky with the argument that the uninvolved presentation of her birth pictures was "unwomanly" ("nicht weiblich").

Asked about her position as a woman in the world of art she repeatedly and very publicly spoke out against women's groups closing ranks in ways that only created new structures of isolation.

[5] One reason that the exclusion of Muncky's work from the "Women Artists International" became so contentious was the last minute nature of the decision.

[3] In 2013 a first inventory of Munsky's work was compiled by Jan Schüler and published under the title "Die Angst wegmalen" (loosely, "Paint away the worry") by the Berlin-based Poll Art Fountation, who had represented the artist while she was alive.

It is true these artists did not adhere to any fixed programme, but there were nevertheless things that they shared in common beyond simply an aspiration to interpret realism.

They identified the need to differentiate their approach from American Photorealism and Hyperrealism, and dubious claims to reflect political experience in artistic work.

She painted these early depictions of embryos, bodily hints, photographs and birth scenes applying a soft flowing style captured in lattice-structures, scaffolds, cages and lines.

In 1970, after undergoing an appropriate vetting process by a commission, she was permitted to spend nine months with the gynaecologist Erich Saling at the Gynaecological Clinic in Berlin-Neukölln.

In 1989 she painted a series of pictures of sombre and unoccupied rooms, along with views out through faint window panes and house fronts.