These have included woodcuts, lithographs, etchings and engravings with aquatint and soft ground, monotypes, gouache and watercolor paintings, and oils.

Cate McQuaid—art critic for The Boston Globe—dubbed Barooshian's biomorphic surrealist style as “Pablo Picasso meets Stan Lee,” recognizing the blend of the modern with the contemporary.

So too it was clear that here was an artist whose sweep was wide, whose influences and interests were many, whose output was prodigious, and whose exuberance, inventiveness, imagination, and artistic commitment was boundless.“[2] Patrick Murphy, Lia and William Poorvu Associate Curator of Prints and Drawings at the Museum Of Fine Arts, Boston, called Barooshian “a consummate printmaker, whose intriguing and oddly overlooked body of work deserves to be celebrated alongside that of mid-century contemporaries like Hayter, Helen Phillips, Fred Becker, and Gabor Peterdi.”[6] A catalogue raisonne of Barooshian's prints from 1948 to 1970 has been completed.

Barooshian studied at the School of the Museum of Fine Arts, Boston (SMFA) with Karl Zerbe, Ture Bengtz, and Richard C. Bartlett.

Perhaps the greatest influence on Barooshian's development was the time he spent in the early-1950s with Stanley William Hayter at his famed etching and engraving studio Atelier 17 in Paris.

His heavily etched surfaces, which produce bold relief and strong textural areas, along with an interesting use of color, are contemporary elements that when joined to the past mark Martin Barooshian as a distinctly individual graphic artist.”[19] In 1970, the Montreal Museum of Fine Arts mounted a major exhibition of 45 of Barooshian's color viscosity etchings, purchasing three for their permanent collection.

While at Pratt, Barooshian had the opportunity to work with many of the major Abstract Expressionists of the period, teaching lithography to Barnett Newman.