During the following decades, Gurr's work continued to be shown at exhibitions of the National Association of Women Painters and Sculptors, the Brooklyn Society of Artists, the New York Society of Women Artists, and the A.C.A. Gallery. She also showed at the World's Fair (1939), the Metropolitan Museum (1942), the Corcoran Gallery of Art (1944), the Artists League of America (1945), the National Academy of Design (1946), the Serigraph Society Galleries (1947), and the American Federation of Arts (1951). Commenting on her fourth solo exhibition at the A.C.A. Galleries in 1947, Howard Devree said she had produced some of her best work to date and a critic for the Brooklyn Eagle noted her use of stepped up color, dynamic line, and bolder composition and said she "delights in painting impressions of life as she sees it around her." In 1950 she made murals and mobile decorations in the ballroom of Hotel Astor in preparation for a benefit event sponsored by Artists Equity to raise money for ill and destitute artists and in 1952 she became Artists Equity's recording secretary.
