[3] By 1930 she had become friends with Black dance pioneer Edna Guy, as she described in the sound recording held by the Smithsonian Archives.

Her supervisors at the Harlem Community Art Center included the teacher and sculptor Augusta Savage and the poet Gwendolyn Bennett.

[1] After a year of teaching, Perry was transferred to the “Easel Division,”[3] which paid artists a weekly wage to create paintings and sculpture.

The 500-pound marble War was shown in the United American Sculptors First Annual Exhibition held at the New School For Social Research in 1939.

[3][8] Perry's oil painting “All for Money,” also created at this time, expressed her concern with fascism, racism, and the disparity between the rich and poor.

[9] In 1940, the Federal Art Project hired Perry to assist sculptor Cesare Stea in preparing his sculpture for installation at West Point.

[3] While working in New York, Perry became friends with artists including Peter Grippe, Joseph Wolins, and Francois H.

[3] The project itself ended in 1943, and according to art historian Eleanor Carr,[10] much of the free standing sculpture that had not been allocated to particular sites was warehoused, and with the termination of the WPA, it was destroyed.

[3] Mary Perry Stone, her husband Ed, and their daughter moved to San Francisco in 1953, where she continued to sculpt and paint.

[16] She had a solo anti-Vietnam-war exhibition at Dominican College's San Marco Gallery in 1968[2][17] and became part of the Sausalito Teahouse group founded by Ross Curtis, an artist and political progressive.

[11] These included The Devil and His Wife Cavorting in the Free Markets of the World, Eve Gives Birth to Adam, and Tiptoe Through the Homeless.

[24] Southern Oregon University's Schneider Museum of Art included work by Stone in its exhibit “The Mythical State of Jefferson” in 2010.