As a young adult, Martin moved to the United States, first to Bellingham, Washington, in 1931, then to New York in 1941, and finally to Albuquerque, where she studied painting at the University of New Mexico from 1946 to 1948. After a few years of teaching, she settled in New Mexico in 1947, dedicating herself to painting and developing an abstract style influenced by Cubism, Surrealism, and Expressionism.

In 1957, Martin returned to New York and found herself among fellow artists such as Robert Indiana, Ellsworth Kelly, Barnett Newman, Robert Rauschenberg, and James Rosenquist. During the late 1950s, her biomorphic works transitioned into geometric abstractions. Her atmospheric compositions consisted of simplified geometric shapes on square canvases, which became a hallmark of her artistic career.

Over the following six years, Martin’s subtle compositions evolved into dynamic monochromes adorned with penciled grids on large square canvases. Despite her artistic success, Martin sought solitude. In 1967, she embarked on a year-and-a-half- long journey across the United States and Canada. After resettling in New Mexico, she focused on writing prose about art and life.

In 1972, Martin returned to painting, featuring a new expression of emotion and perception in her work. Her paintings were characterized by horizontal and vertical lines presented in pastel pinks, blues, and yellows. Over the next three decades, her work placed a strong emphasis on seriality and the use of stripes as the primary compositional structure. The canvas emanated increasing luminosity, achieved by applying diluted acrylic color over multiple layers of white pigment.