At the fore of the Harlem Renaissance, Warrick was known for being a poet, painter, theater designer, and sculptor of the black American experience.

"[2] Through adopting a horror-based figural style and choosing to depict events of racial injustice, like the lynching of Mary Turner, Warrick used her platform to address the societal traumas of African Americans.

[4][6][7] After an influx of free blacks began making a home in Philadelphia, the available jobs were generally physically hard and low-paying.

[9] Despite this, Warrick's parents were able to find creative success[4][6][8] amongst the "vibrant political, cultural, and economic center" the African-American community of Philadelphia had established.

"[11] Warrick's career as an artist began after one of her high-school projects was chosen to be included in the 1893 World's Columbian Exposition in Chicago.

In an act of independence and nonconformity as an up-and-coming woman artist, Warrick defied traditionally "feminine" themes by sculpting pieces influenced by the gruesome imagery found in the fin de siècle movement of the Symbolist era.

[14] In 1898, she received her Pennsylvania Museum and School of Industrial Art diploma and teacher's certificate[13] as well as a scholarship for an additional year of study.

[3] Upon graduation in 1899, Warrick traveled to Paris, France, where she studied with Raphaël Collin,[12][13] working on sculpture and anatomy at the Académie Colarossi and drawing at the École des Beaux-Arts.

[5] Warrick had to deal with racial discrimination at the American Women's Club in Paris, where she was refused lodging although she had made reservations before arriving in the city.

Influenced by the conceptual realism of Auguste Rodin, she became so adept at depicting the spirituality of human suffering that the French press named her "the delicate sculptor of horrors."

Of her plaster sketch entitled Man Eating His Heart, Rodin remarked, "My child, you are a sculptor; you have the sense of form in your fingers.

She is considered part of the Harlem Renaissance, a flourishing in New York of African Americans making art of various genres, literature, plays and poetry.

It was a relief for Warrick that her gender wasn't an inhibitor of how the public reacted to her racially themed pieces, as it would be in the United States.

For this award, she created a series of tableaux depicting African-American historical events for the Jamestown Tercentennial Exposition, held in Norfolk, Virginia in 1907.

[23] The display included fourteen dioramas and 130 painted plaster figures depicting scenes such as slaves arriving in Virginia in 1619 and the home lives of black peoples.

[27] In 1910, a fire at a warehouse in Philadelphia, where she kept tools and stored numerous paintings and sculptures, destroyed her belongings; she lost 16 years' worth of work.

Historian W. Fitzhugh Brundage has described Fuller's tableaux as one that suggested "the expansiveness of black abilities, aspirations and experiences, [presenting] a cogent alternative to white representations of history.

After becoming less active in the CLS, Fuller joined a Black theater company called the Allied Arts Theatre Group (AATG) where she worked as a head designer, director, and board member.

The following is an excerpt of stage directions in her production titled, A Call After Midnight:"On the long hall table is a lamp, which the characters snap on and off, as they stop to look for mail, which is left in a receptacle for that purpose.

[5] She continued to create works of art, against the stigma that she should settle down and become a housewife once she and her husband had three children one of which, her son Perry, went on to become a sculptor as well.

Within the community, Warrick Fuller helped establish and was involved in the lighting of productions put on by the Framingham Dramatic Society.

[5] Warrick believed making art was her divine calling so her being cast out didn't discourage her reignited motivation to create.

Her work was featured in 1988 in a traveling exhibition at the Crocker Art Museum, along with artists Aaron Douglas, Palmer C. Hayden and James Van Der Zee.

[41] Her work was also featured in a traveling exhibition called Three Generations of African American Women Sculptors: A Study in Paradox, in Georgia in 1998.