Fine's work engaged heavily with Cubist fragmentation as well as the ideas of Hanns Hofmann’s on colour and shape. Her sustained exploration of the possibilities of abstraction through the relationship between line, space, colour and shape, are displayed in Untitled (1946). These elements are brought together in a composition that balances geometric structure with softer, organic forms, creating a visual tension between order and fragmentation. Rather than directing the eye towards a single focal point, the composition is deliberately dispersed, with angular forms and lines competing across the canvas. The contrast between the warm, earthy palette and the bold black jutting lines gives the painting a sense of both cohesion and instability. During the across the 1940s Fine gained signigicant recognition, exhibiting at Peggy Guggenheim’s Art of this Centry Gallery and Solomon R. Guggenheim Museum, and presenting solo exhibitions at Betty Parsons in New York and at San Francisco's de Young Museum.