Her artwork is based on re-interpreting family, social, and natural history through the form of artist's books, sewn and constructed sculptures and paintings, and installations.

[5] Moore studied at the University of Texas in Austin in their liberal arts honors program called Plan II and graduated with a BA cum laude in 1964.

Her work was first exhibited as part of the group show Fifteen Artists curated by Henry Ghent at the Brooklyn Museum's Community Gallery in 1969.

She joined the Committee of Returned Volunteers (CRV) and continued protesting the war in Vietnam and Gulf Oil in Angola.

Moore's involvement began when she started meeting regularly as part of the editorial collective of the Heresies Magazine Issue #13: Earthkeeping / Earthshaking: Feminism & Ecology 1979.

Moore helped fellow artist Betsy Damon and President of the WCA Annie Shaver-Crandell organize a June 14, 1984 protest against the unequal representation of women and minorities in the New York Museum of Modern Art's exhibition An International Survey of Recent Painting and Sculpture.

Marchers wrote their names on slips of paper and placed them inside the model in order to show their symbolic inclusion in the museum.

Moore, Damon, and Shaver-Crandell were coordinators of the event, and the Heresies Collective, the Women's Interart Center, and the New York Feminist Art Institute became cosponsors.

[9] Moore worked as a freelance photo editor for thirty years in NYC for publishers, including Doubleday, HarperCollins, American Heritage, and Random House.

Moore was the principal photo editor for Through Indian Eyes (Reader's Digest) and Bill Moyers and Joseph Campbell's The Power of Myth.

Her work is based on re-interpreting family, social, and natural history through the form of artist's books, sewn and constructed sculptures and paintings, and installations.

She has referred to her work as a "kind of personal archeology" explaining that she sees herself as a literate granddaughter who has synthesized the quilt making and storytelling traditions of her rural grandmothers into new forms.

In 1989, Moore and her husband bought land on the mesa in Abiquiú, New Mexico, where they built a house using traditional adobe and a studio using straw-bale construction.

[17] In 2013, she helped organize a scholarly project to collect the oral histories of Abiquiú residents who knew Georgia O'Keeffe.