A solo exhibition, "Mira Schor: Paintings From the Nineties To Now," was held at CB1 Gallery in Los Angeles, CA (November 20, 2010 – January 9, 2011) with a catalogue essay by art historian Amelia Jones.

[3] In a 2012 New York Times review, critic Roberta Smith wrote "Mira Schor’s small, sharp, quirky paintings have been thorns in the side of the medium for more than three decades now" and "Ms. Schor hardly tells the whole story of creative labor, but she lays out its essential elements: the isolation, reading, thinking and percolation that enable a Voice to emerge.

At once poetic, lyrical and oddly real, her paintings give rare and sardonic visual form to the life, and the work, of the mind".

[6] This respected artist-run editorial project continues at M/E/A/N/I/NG Online Schor has written frequently on issues of gender representation, including "Backlash and Appropriation," a chapter of The Power of Feminist Art, 1994, an historical overview of the Feminist movement published by Abrams, "Patrilineage", 2002, republished in The Feminism and Visual Culture Reader edited by Amelia Jones, and on artists such as Ida Applebroog, Mary Kelly, and Ana Mendieta.

Schor is the author of Wet: On Painting, Feminism, and Art Culture, 1997, and co-founder and co-editor, with Susan Bee, of M/E/A/N/I/N/G publishing 20 issues from 1986-1996.

In 2003, Schor produced a video documentary on her parents’ work, The Tale of the Goldsmith’s Floor, originally created for the 2003 Brown University and differences conference, "The Lure of the Detail"[9] Schor was awarded the Creative Capital / Warhol Foundation Arts Writers Grant to develop A Year of Positive Thinking, a blog on contemporary art in 2009.

[10] She taught at NSCAD in Halifax, Nova Scotia (1974–1978), SUNY Purchase (1983–1985), Sarah Lawrence College (1991–1994), RISD (1999–2000), and was a resident artist at Skowhegan School in 1995.