Boty's paintings and collages often demonstrate a joy in self-assured femininity and female sexuality, as well as criticism (both overt and implicit) of the "man's world" in which she lived.

Boty's mother, on the other hand, was supportive, having herself been a frustrated artist and denied parental permission to attend the Slade School of Fine Art.

[4] In 1957 one of her pieces was shown at the Young Contemporaries exhibition alongside work by Robyn Denny, Richard Smith and Bridget Riley.

[5] Despite the institutionalised sexism at her college, Boty was one of the stronger students in her class, and in 1960 one of her stained-glass works was included in the travelling exhibition Modern Stained Glass organised by the Arts Council.

Boty continued to paint on her own in her student flat in west London and in 1959 she had three more works selected for the Young Contemporaries exhibition.

She sang, danced, and acted in risqué college reviews, published her poetry in an alternative student magazine, and was a knowledgeable presence in the film society where she developed her interest, especially in European new wave cinema.

She landed roles in an Armchair Theatre play for ITV ("North City Traffic Straight Ahead", 1962) directed by Philip Saville[10] and an episode of the BBC series Maigret ("Peter the Lett", 1963).

She also appeared on stage in Frank Hilton's comedy Day of the Prince[11][12] at the Royal Court, and in Riccardo Aragno's (from the novel by Anthony Powell) Afternoon Men[13][14] at the New Arts Theatre.

"[16] Her unique position as Britain's only female Pop artist gave Boty the chance to redress sexism in her life as well as her art.

[17][18] She painted her male idols—Elvis, French actor Jean-Paul Belmondo, British writer Derek Marlowe—as sex symbols, just as she did actresses Monica Vitti and Marilyn Monroe.

[20] Her marriage disappointed others such as Peter Blake and her married lover, the television director Philip Saville, whom she had met towards the end of her student days and had worked for.

[22] Boty and Goodwin's Cromwell Road flat became a central hang-out for many artists, musicians, and writers, including Bob Dylan, David Hockney, Peter Blake, Michael White, Kenneth Tynan, Troy Kennedy Martin, John McGrath, Dennis Potter and Roger McGough.

Goodwin, to be later a member of the founding editorial team of the radical journal Black Dwarf, is said to have encouraged Boty to include political content in her paintings.

Countdown to Violence depicts a number of harrowing current events, including the Birmingham riot of 1963, the Assassination of John F. Kennedy and the Vietnam War.

The collage painting It's a Man's World I (1964) juxtaposes images of male icons The Beatles, Albert Einstein, Lenin, Muhammad Ali, Marcel Proust and other men.

[33] Her work was rediscovered in the 1990s, thanks to curator David Mellor and academic Dr. Sue Tate, renewing interest in her contribution to Pop art, and gaining her inclusion in several group exhibitions and a major solo retrospective.

The unveiling was carried out by Natalie Gibson and Celia Birtwell with Sir Peter Blake in attendance alongside other friends, family and admirers of Boty.