In 1973, when she was invited to participate in a performance series at Artists Space in New York, she installed taped texts dealing with such issues as art world celebrity (Limelight) and women’s daily lives (Visiting Hour), which created a polemic in the art world because of their form as well as their contents.

A solo exhibition, at 112 Workshop at 112 Greene Street in 1974, introduced her into the international avant-garde scene where she played an important role throughout the 1970s with her text-sound installations and narrative feminist works (My Grandmother's Gestures, Roles, Disguises...) in Europe and the United States, using the name Nancy Wilson Kitchell.

[1] In 1979, Wilson-Pajic moved to Paris and undertook research on the influence of photography on our understanding of the artworks documented, specifically the tendency of the image to transform difficult content into more conventional, pictorial form.

Her first exhibition in a photography context was a solo show at the Musée National d’Art Moderne in the Pompidou Center, Paris in 1983.

After summing up her experiments with the image in three major museum retrospectives: at the Musée Cantini (1990), the Musée National (1991) and a double retrospective of photographic works and installations in two museums in Aurillac (1992), and after creating, in collaboration with Slobodan Pajic, large-scale photograms in cyanotype of human figures (Falling Angels) and of garments from museum collections (notably Les Divas from the Nouveau Musée National de Monaco) and from Christian Lacroix Haute-Couture (The Apparitions and Les Déesses), she resumed her work in space, creating installations composed of texts and ordinary objects, and continues to explore relations between text, context and space.