[3] She earned a Bachelor of Fine Arts degree from Rutgers University in 1973, moving to Toronto Canada shortly after.

In 1986, critic Robert Enright[9] wrote "Husar uses her art as a bracing tonic; splashed in these big confrontational paintings is a conscience and a care that is almost excessive and certainly troubling".

[10] Cultural Historian George Melnyk [11] commented on Husar’s leitmotif of inserting herself into paintings as aging, young, different characters, clothed and nude: “she sees the role of the artist as one of disguising elements of the self, of addressing anxieties.” [12][13] Husar taught painting at the Ontario College of Art University (OCAD) as an associate professor from 1990 to 2011[14][15][16] and has been the recipient of numerous arts grants.

[20] Devised as a history play in three acts, Husar’s painting were interwoven social narratives between Ukrainian society and Soviet-style attitudes through fictional characters and her persona-characters.

[27] The catalogue texts examined Husar's use of fictional female identities,[28] including poems by Janice Kulyk Keefer [29] written in the voices of the characters in the paintings.