[2] Fine's work was most known by its combination of fluid and brushy rendering of the materials and the use of biomorphic forms encased and intertwined with irregular geometric shapes.

"[1] Emily Hall Tremaine would later commission Fine to create two interpretations of Piet Mondrian's unfinished painting Victory Boogie Woogie.

[1] During a show at the Nienrendorf Gallery, art critic Edward Alden Jewell, who had previously dismissed abstraction when it first came out in the 1930s by calling it decorative and imitative of European avant-garde, praised Fine's "aplomb" and "native resourcefulness".

It was written that, even though she was a member of American Abstract Artists, her work was different in spirit than that of fellow-members Ralston Crawford and Robert Motherwell.

[1] In the 1950s, Fine moved to the Springs section of East Hampton on the eastern end of Long Island, where Jackson Pollock, Lee Krasner, Willem de Kooning, Conrad Marca-Relli, John Ferren, and other members of the New York School found permanent residence.

[1] After several years' struggle with Alzheimer's disease, Fine died of pneumonia on May 31, 1988, at the age of 83 in East Hampton, New York.

Fine started playing with act of staining and contrasting levels of translucency along with the use of reduction and of positive and negative space.

Artists were stepping away from the soul-baring of action painting to let their images speak for themselves; this new approach was free from psychological self-examination, and could just involve the viewer in a direct emotional and intellectual experience.

Fine's Cool series concentrated solely on the imagery of rectangles and squares placed in a juxtaposition using mostly monochromatic color pallets.

In 1978, toward the end of this period of her career, she was honored with an exhibition at Guild Hall Museum in East Hampton which emphasized work from this series.

[19] Fine, along with other female artists such as Fannie Hillsmith and Lee Krasner, experienced significant constraints to their opportunities and exposure on the basis of their gender.

"[T]he very image of the Abstract Expressionist painter was a white, heterosexual male... this movement, which perceived itself as a glyph of individual freedom, constricted the entry of women, African Americans, and homosexuals, regardless of the nature and quality of their work.

"[1] Deirdre Robson has described that period, saying "the arts were gradually thought of less in terms of being part of the 'female' realm and more as an interest suitable for a hardheaded and successful businessman.

"[1] For her part, Fine did not ascribe as much significance to the role gender played in her relative success within the Abstract Expressionist movement, instead focusing more on the integrity of her paintings themselves.

Her determination and talent were undeniable, and, as art historian Ann Eden Gibson has said, "by the early 1950s, Fine was right in the middle of Abstract Expressionism”.

[1] Over a career in abstract painting that lasted more than 50 years, Fine continued to innovate and refused to borrow methods from other artists that could potentially allow critics to call her work derivative.

[23] In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.

She allowed her knowledge of modern European masters to help inspire her style as she explored the depths of human emotion and energy.

Although Fine was adamant that her works were solely based on the way her materials interacted, people felt that it was hard to not see the connections she made with her surrounding in Springs.

The spell-binding quality, the one that beckons and holds, the unpremeditated, the nameless, touched off perhaps by some transcendental experience but guided by a poetic and creative mind – these are the things hidden beneath the surface”.