Her work is distinguished by "a precise, hard-edge quality encompassing geometric lines and smooth surfaces in pieces that often defy categorization as abstract or figurative.

The saddest thing is for people to be dominated by things.” Pimentel held her first solo exhibition in 1969 at Rio's Galeria Relêvo and went on to participate in the Seventh Paris Biennale and the Eleventh Bienal de São Paulo (both 1971) and “International Pop” at the Walker Art Center (2015).

Under his influence, Pimentel developed her plain constructivist spatial organization as well as her consistent use of precise and straight lines in her artworks.

[6] During the 1960s, she experimented with different styles, such as pop art in the United States and England, nouveau réalisme in France, and neofiguration and new objectivity in Brazil.

There is a dual relationship represented in this painting: "it might seem that a young woman is simply making use of the world of objects, but at the same time the female body is objectified.

Art critic Frederico Morais wrote in 1979:Wanda started running through the spaces of the house – bedrooms, bathroom, kitchen, living room — portraying in them objects that, soon, were seen as if from inside, radiographed or dissected: drawers, archives, falling plaster on the wall.

And as if anticipating her contact with the outer world, she began to portray objects that also were means of communication: telephone, television, photographic cameras.

This series was seen as the "clashing of two irreconcilable references: lines and abstract, geometric shapes as well as the desire to represent the contemporary and everyday world in transformation as it is experienced and perceived."

Wanda Pimentel questioned an "impersonal and mechanized world, in an epoch when mass media communications and the aesthetics of spectacle, embodied by television, had already declared victory over the silence of intimacy.

In 1968, Artur da Costa e Silva's military junta introduced the Institutional Act #5 (AI-5),[10] which abolished the national legislature and prohibited every sort of political protest.

[7] Wanda Pimentel used "rich colors and surgical precision" in her Envolvimento paintings which include fragmented female bodies in domestic environments.

[3] While creating this series Pimentel came across a poem by Fernando Pesseoa called "O Último Sortilégio" ("The Last Spell")[11] that she included in her exhibition instead of a traditional critical text.