Although her intended major was political science (which she would later change), Weiss enrolled in cinematography courses in the Centro Universitario de Estudios Cinematográficos (CUEC) at UNAM.
[12] Defying institutional policies, Weiss presented, for the first time in the history of UNAM, a thesis in the format of a videotape.
Similarly, scholars such as Dante Hernández Miranda agree that Weiss's playful and creative nature was evident through the continuous wordplay of her own name.
Paik was a principal exponent of the Fluxus movement and pioneer of video art famously known for his experimentation with televised images.
[7][20] Kubota pioneered North American and European video sculpture and continuously embedded feminist discourse in her works.
At this time, artists experimented with sound and image through technology for creative zeal because no platforms for the distribution and exhibition of this type of work existed.
In 1977, Weiss presented her first work Flor cósmica (Cosmic Flower), in the 9th Encuentro Internacional del Videoarte at the Museo Carrillo Gil in Mexico City.
[22] From the time of her first release until her death in 1990, Weiss embarked on multiple projects and exhibitions throughout the United States, Venezuela, France, The Netherlands, Uruguay, Poland, Canada, Belgium, Brazil and Argentina.
[23] It is believed that after her father's death, Weiss fell under deep depression and committed suicide in front of her camera, in 1990.
As Weiss began to experiment with videography, scholars agree she developed a kind of performance relationship with her camera.
[25] In a special issue of the magazine Artes Visuales, Weiss describes her conceptualization of video as a negotiation between its personal depictions and relationship to mass media and the public sphere.
[26] She used broadcast television as a frame that allowed her to access a large and diverse public that was not found in artistic institutions such as galleries and museums.
In avoiding the unilateral conventions of television and media, she employed an interdisciplinary form of art in which she used a combination of intimate perspectives and emotions to convey her vision of “the Other” and evoke a subjective experience among viewers.
For example, Flor cósmica (Cosmic Flower) featured a changing kaleidoscope; in contrast, Santa Cruz Tepexpan can be seen as a documentary.
This was the first video production Weiss created and exhibited in the 9th Encuentro Internacional del Videoarte at the Museo Carrillo Gil in Mexico City.
The tonalities turn towards yellow, red and blue hues and depict a combination of feminine, organic and notoriously sexual connotations.
[31] In this 18-minute video, Weiss creates a world utilizing chroma key, color saturations and psychedelic effects.
[22] The geometric configurations of strong colors give way to panoramic views of mountains, skies, and rivers and Mexican urban areas [32] which are interspersed with the naked body of a woman, played by the actress Vivian Blackmore.
The image of the woman dancing, to the melody or exclamations of the voice-over (by Weiss herself), dissolves as shots of Mexico City, its people, and surrounding pollution are shown.
[34] Her silhouette of flesh tone contrasts with the extravagant and iridescent colors of the background (lemon yellow, green, light pink, and bluish).
This video was presented in the exhibition Nuevas Tendencias at the Museo de Arte Moderno (MAM) in Mexico City and was scheduled to be televised.
[37] In this production, Weiss attacks gender, class, and racial structures found within urban spaces which marginalize women.
Although Weiss never received any awards, her most notable recognition happened in 1987, during the Festival Internacional de Video, in Montpellier, France.