[5] She exhibited paintings and drawings of "vigorous, creative women whose faces defy any judgment based on culturally-defined standards of feminine beauty,"[6] including an expressive self-portrait called Revolutionary Woman (1973),[6] which was later acquired by Western Illinois University.
[6] The oil version of Self-Portrait as Superwoman (Woman as Culture Hero) (1977–78) was intended for The Sister Chapel, a collaborative feminist installation that celebrated eleven historic, mythical, and conceptual female "role models.
"[6] Wybrants's self-portrait is a tribute to her own achievements as a woman and as an artist,[10] but it was also intended to communicate something of the uncertainty and personal suffering behind the groundbreaking accomplishments of the feminist art movement.
[12] In 1976, the pastel version of Self-Portrait as Superwoman was used as the image on a poster to promote an Equal Rights Amendment Work Conference sponsored by the New York chapter of the National Organization for Women.
[6] Also displayed was a series of twelve self-portraits that documented the year-long breakup of Wybrants's marriage,[15] each reflecting "a different mood and a different way of seeing herself," as noted by the art critic Ellen Lubell.
"[21] In 1990, Wybrants was the founding director of Challenged Artists Together, a non-profit art organization for children, adolescents, and adults with disabilities in Las Cruces, New Mexico.