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In 1931, she moved to Paris where she became acquainted with Carlos Carra and Giorgio de Chirico, both became influences in her work. At the age of 24, she met Max Ernst and they became lovers. Ernst introduced her to the Surrealists, that included Man Ray, Salvador Dali, and Henri Cartier-Bresson.

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In 1936, Fini participated in her first exhibition in New York at the Julian Levy Gallery.

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In this self-portrait, Fini looks directly at the viewer and reveals a hidden scorpion under her glove.  Fini was known for ripping apart clothes with the suggestion of clothes torn in passion. The scorpion was a symbol of feminine power.

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The image of the sphinx is a common motif in Fini's work. In this painting, a powerful woman watches over a smaller group of smaller sphinxes.

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Fini was included in Peggy Guggenheim’s show Exhibition by 31 Women at the Art of This Century gallery in New York.

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The "Angel of Anatomy" intensely stares directly at the viewer.  The angel seems to be stuck between life and death.

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This painting depicts Fini in swampy black waters and surrounded by chaos, destruction, and death. When she included the motif of the eye, it meant that she was going through a period of reflection.

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“La Guardiana del Huevo Negro” translates to the guardian of the black egg. The painting shows a woman wearing a cloak with a black egg on her lap. Fini’s work has dream like quality.

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The portrait was painted by Lini at the age of 61. She paints herself as a pensive, determined, and independent woman. The bright colors chosen make it appear playful and youthful.

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Fini painted "Retour de Voyage" when she was 78 years old. She sits in a Buddha-like position. Her hair is wrapped in an orb like headdress.

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"I have always loved, and lived, my own theatre."