Throughout the 1920s she supported her husband by vigorously campaigning amongst women voters and also organising relief for families affected by the great depression.
A mature and diligent student, her art developed and consolidated rapidly and whilst her output was relatively small, her paintings easily match those of more prolific contemporaries.
Art patrons John and Sunday Reed also were friends and through them Evatt and her high profiled husband became known in the Heide Circle.
She was an ally and a supporter of the young Bernard Smith who managed the wartime touring exhibitions of Australian art sent out from the AGNSW into rural NSW, an initiative that Evatt advocated.
Her public career and her political commitment made an early link between the Australian Labor Party and the art world, which would not be ratified until the election of the government of Gough Whitlam in 1972.
Evatt's activities extended beyond Australia onto a global stage when her husband was deputy leader in the Curtin Labor Government, spending time in the United States, and more so when H.V.
After World War 2 in Paris she worked with curatorial teams bringing public artworks out of wartime safe keeping.
However Mary Alice had links to the conservative regime through her long friendship with Maie Casey, whom she saw, like Eleanor Roosevelt, as a like-minded colleague.
In 2002–2005 a major touring exhibition of her work, curated by Dr Melissa Boyde, was organised by the Bathurst Regional Gallery, with support from the Evatt Foundation.