Agnes Martin's work can be seen in many public collections around the world. In New York City, her pieces are held by the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, and the Solomon R. Guggenheim Museum. Other American museums include the Albright-Knox Art Gallery (Buffalo), the Cleveland Museum of Art, the Philadelphia Museum of Art, the Whitney Museum of American Art (New York), and the Yale University Art Gallery (New Haven). Additionally, several galleries and museums in Washington, D.C. hold her work; these include the Hirshhorn Museum and Sculpture Garden, the National Gallery of Art, and the National Collection of Fine Arts. Outside the United States, Martin's art can be found in the Aargauer Kunsthaus (Aarau, Switzerland), the Museo de Arte Moderno (Barcelona), the Museum of Fine Art (Budapest), the Kunstmuseum (Lucerne), and the Musée National d'Art Moderne, Centre Georges Pompidou (Paris).

Agnes Martin is best known for paintings, but she also produced a number of important screenprints and lithographs. These prints extend the themes and aesthetic qualities of her paintings, making them more accessible to collectors. Martin began making prints in the 1960s, often working with мастер printmakers to achieve the subtle textures and delicate lines that characterise her style. Her prints often feature grids and geometric shapes, rendered in muted colours or graphite. These elements create a sense of calm and order, reflecting Martin's interest in simplicity and abstraction. Some of her notable print series include "On a Clear Day" (1973), a portfolio of 30 screenprints, and various lithographs created throughout her career. These works are not merely reproductions of her paintings; instead, they are original works of art that explore similar visual ideas in a different medium. Martin's prints offer a unique opportunity to own a piece of her artistic vision, as they capture the essence of her minimalist aesthetic in a more affordable format than her paintings. They provide insight into her artistic process and her exploration of line, colour, and form.

Agnes Martin (1912-2004) is important because of her abstract style and interest in beauty. After moving to the United States from Canada in 1931, she began to paint and befriended other artists, such as Sol LeWitt. Martin had her first solo show at the Betty Parsons Gallery in New York in 1958. Martin’s abstract work began after 1947, and she is recognised for her mixed-media works, often featuring grids and stripes. While living in New York between 1957 and 1967, Martin experimented with symmetrical compositions, under the influence of artists such as Ad Reinhardt and Ellsworth Kelly. Some critics linked her grid paintings to the Minimalist movement, but they are also examples of Abstract Expressionism. Martin's compositions are non-hierarchical; no component is privileged over another. The delicacy of Martin’s style is promoted by her use of light graphite lines and cool tones, such as pink and pale grey. Her paintings require quiet contemplation to reveal the subtleties of their compositions. From the 1940s, Taoism and Zen Buddhism influenced her, and she was also interested in ancient Greek philosophy and culture.

Agnes Martin is best known for her grid paintings; these monochromatic works feature horizontal and vertical lines in a six-foot-square format. Her early abstract works display delicate grid lines and restrained colour. Martin's mature work has an absolute equivalence of form; no component is privileged over another. She often used light graphite lines and cool tones, such as pink and pale grey. The grids are freely drawn, with fragile lines. While living in New York between 1957 and 1967, Martin began experimenting with symmetrical compositions, including circles and squares. These were influenced by artists such as Ad Reinhardt and Ellsworth Kelly. After 1967, when she returned to Taos, New Mexico, her paintings became increasingly ethereal; the grids sometimes seem to fade into a shimmering mist.

Agnes Martin's work had an impact on a number of artists, especially those associated with Minimalism, though she did not consider herself a Minimalist. She moved to New York in 1958, living among artists like Ellsworth Kelly, Robert Indiana, Ann Wilson, James Rosenquist, Lenore Tawney, Jack Youngerman, Jasper Johns, and Robert Rauschenberg. According to Youngerman, they maintained separate private spaces, but felt a sense of sacredness in their work. Kelly recalled Martin as a spiritual and sensitive person. Her grid paintings, which some critics initially linked to Minimalism, are actually examples of Abstract Expressionism. Her canvases suggest a spiritualism that reflects her interest in nature and Eastern religions, notably Daoism. The paintings created after her return to Taos in 1967 became increasingly ethereal, the grids sometimes so faint that they seemed to be fading into a shimmering mist. Gerhard Richter, often called one of the best living artists, has created both abstract and figurative works over five decades.

Agnes Martin's artistic development involved several influences. Early in her career, she explored surrealism. Later, she moved toward abstraction. Mark Rothko is often cited as an important influence. Both artists employed large, simplified forms. Rothko's colour field paintings share some visual similarities with Martin's grids. However, Martin sought to avoid Rothko's emotionalism. She aimed for a more impersonal, objective style. Classical Chinese painting and philosophy also informed her work. Taoist principles, with their emphasis on simplicity and meditation, resonated with Martin's minimalist aesthetic. The vast, empty spaces in Chinese art offered a model for her subtle compositions. Finally, the American landscape, particularly the deserts of New Mexico, shaped her vision. The stark beauty and quietude of these environments found expression in her art. Martin lived and worked in New Mexico for many years.

It is difficult to identify a single "most famous work" by Agnes Martin, as her reputation rests on the consistency and overall character of her output, rather than individual paintings. However, some pieces are particularly well known and frequently exhibited. One such work is *Loving Love*, a 1960 oil and canvas piece that is typical of her grid-based style. The artwork consists of a lightly-coloured square field overlaid with a faint pencil-drawn grid. Another example is *White Flower*, a 1960 painting currently residing at the Honolulu Museum of Art. Martin's mature style, developed in the 1960s, involved subtle grids and pale colours, often in acrylic on canvas. These paintings explored themes of innocence, beauty, and the sublime. Her work has been associated with both Minimalism and Abstract Expressionism, though she resisted easy categorisation. She aimed to evoke emotion through subtle means, rather than bold gestures or obvious symbolism. Her paintings invite contemplation and a personal, subjective response.

Agnes Martin (1912-2004) is often associated with the Minimalist movement, but she identified as an Abstract Expressionist. Her mature work is characterised by pared-down mixed-media pieces, frequently featuring grids and stripes. Living in New Mexico in the 1940s, Martin began experimenting with abstract forms based on her observations of the desert. By 1960, she had developed her signature grid pattern in an almost exclusively six-foot-square format. These monochromatic paintings consist of interlocking horizontal and vertical lines. The arrangement of coordinates shifts in scale and rhythm from work to work. While living in New York between 1957 and 1967, Martin began experimenting with symmetrical compositions comprising circles and squares. Some critics linked her grid paintings to Minimalism; however, they also have qualities of Abstract Expressionism. Her canvases suggest a spiritualism that reflects her interest in nature and Eastern religions, notably Daoism and Zen Buddhism.