It is extremely evolved and sophisticated enough to reconquer the grace and purity of African and American art.Streat was a multi-talented artist, seeking to express herself through many creative avenues, including oil and watercolor paintings, pen and ink drawings, charcoal sketches, mixed media murals, and textile design.

[10] In 1939 until 1940, she assisted artist Diego Rivera in the creation of the Pan American Unity mural, for the Art in Action exhibition at Treasure Island's Golden Gate International Exposition (GGIE).

[13] As Judy Bullington argues in her indispensable article on Streat, "the West Coast allowed highly visible indigenous traditions that generated a different kind of regional flavor from which modernists could draw inspiration.

Streat’s ability to blend these multiple influences into a modernist mode enabled her to attract the attention of Hollywood arts collectors, to capture headlines across the United States, and, in the 1940s and 1950s, even to gain some international recognition.

"[citation needed] Through a series of murals depicting the contributions of people of African descent, panels showed Black Americans in industry, agriculture, medicine, science, meat packing, and transportation.

Along with images of well-known Americans like Frank Lloyd Wright, she painted a series of portraits of famous people of African ancestry, including concert singer Marian Anderson, singer/actor/activist Paul Robeson, Toussaint Louverture, and Harriet Tubman, and more.

[17] Her ability to integrate dance, song and folklore from a variety of cultures into a presentation package and utilize it to educate and inspire an appreciation across ethnic lines was revolutionary for her time.

[8][16] Her paintings have appeared in exhibits at museums and galleries including: Similar to her contemporary and acquaintance Katherine Dunham, Streat traveled to Haiti between 1946 and 1951 to study dance, which she saw as an important inspiration of social change and a catalyst for challenging societal norms.

Streat debuted her new choreography, inspired by her travels, in a performance at the San Francisco Museum of Art in 1946, which combined African, Haitian, Hawaiian, Native American, Portuguese and other indigenous dance forms.