In the 1950s, she began showing at the Edwin Hewitt Gallery in New York and since then has won numerous annual exhibition awards, from the Rochester Memorial Art Museum to the Carnegie International . Her work was included in the National Academy of Design's yearly exhibitions, and she has exhibited at the Museum of Modern Art, the Whitney Museum of American Art, the Pennsylvania Academy of the Fine Arts, and the Kennedy Galleries in New York. She was elected a National Academician in 1966, and has served as an officer at the Academy. Nevertheless, Browning developed and maintains a wry, multi-hued personal stamp to her painting which for almost four decades has set it apart from prevailing fashion. Surely no Browning canvas fills this bill as completely as her early work, Telephones , which won Honorable Mention at the Butler institute's 20th National Midyear Exhibition in 1954.
Telephones is a tragicomic study in urban energy and rootlessness.
The composition is basic, the booths establishing six strong vertical rectangles, some with doors folded perilously inward, some with doors ajar, all creating a fascinating visual counterpoint to the more rounded, amorphous forms of human beings catching up on their calls. The next of the callers is a natty man in spotless white shirt and lemon yellow pants, writing something down on the phone counter, an umbrella propped up against the glass door.