From 1968 to 1969 she had an exhibit at the Lirolay Gallery of Buenos Aires and was awarded the "Ver y Estimar" prize, where she was invited to join the Di Tella Institute but it was closed due to General Ongania's dictatorship. Marx was interested in collective art, and in the late 1960s Edgardo A. Vigo introduced her to "mail art" which was related to "new forms of concrete poetry: process poems, visual poetry, action poetry".Graciela G. Gutiérrez Marx. “Invisible Artists, or the Net Without a Fisherman...(My Life in Mail Art)”. ARTMargins. Volume 1. Issue 2-3. June–October 2012. Page 149. In the mid 1970s, Horacio Zavala, taught her all about Artecorreo by sending her an invite to an exhibition of rubber stamps where she became part of the mail exchange lists. In 1975, Marx participated in the first mail art exhibit in Argentina entitled “Última exposición internacional de art correo” where she had “woodcut envelopes with her face printed on them and rubber-stamp artworks whose tone anticipated the disappearance of thousands of people during the dictatorship. When the dictatorship ended in 1984 and democracy was restored she changed her signature to “GGMarx”. She has been in multiple exhibits and in the 1980s she started participating in a collaborative project of collective poems (poemas colectivos). One of which was entitled “El tendedero” (the clothesline) where she invited people to build a poem together where they would write a few words on notecard and pin it an article of clothing of a loved one and then sewed the clothing into a flag. During 1984 Marx helped form the Asociación Latinoericana y del Caribe de Artistas-correo in the city of Rosario with Clemente Padin, Noni Argañaraz, Jorge Orta, Susana Lombardo, and Mamablanca (Gutiérrez Marx’s mother) after their exhibit entitled Primer encuentro de arte experimental y mail-art. In 2010, she released a book entitled Artecorreo: artistas invisibles en la red postal about mail art and her career. She resided in Buenos Aires.
