Then, influenced by Matisse's Fauvism on one hand, and by Cubism of Braque and Picasso on the other, he tried to combine both movements and created bright-colored Cubists pictures unlike the somber monotone paintings of Cubism founders. (Young Girl/Jeune fille, Star Dancer on a Transatlantic Cruise / Danseuse étoile sur un transatlantique)
In 1910 Pucabia met the Duchamps brothers, Marcel Duchamp, Raymond Duchamp-Villon and Jacques Villon, and Guillaume Apollinaire. The friendship with Marcel Duchamp (1887-1968), a pioneer in the use of ready-made art, and G. Apollinaire, an Avant-garde poet and critic, significantly influenced Picabia's following works. In 1913, Picabia went to the United States for the first time and showed his abstract paintings at the international exhibition "Armory Show." The pictures had success and brought him fame.
In 1918 Picabia moved to Switzerland, where he joined the Zurich group of Dadaists and published a book entitled "Poèmes et dessins de la fille née sans mère" ("Poems and Drawings of the Girl Born without a Mother"). He took active part in the activities of the group and went on with his "mechanomorphs" (Infant Carburettor, 1919). He contributed to "Dada" issues. In 1920 he published a periodical, "Cannibale", and in 1921, together with Breton and others, he dissociated himself from "orthodox" Dadaists and switched his allegiance to Surrealism. In the beginning of the 1920s Picabia was interested in 'constructing' collages, for which he used all kind of materials (Feathers. 1921; Straw Hat. 1921, Woman with Matches. C. 1923-24)
In 1927 Picabia's period of so-called 'transparencies' started. The artist was looking for alternative methods to depict three-dimensional space without traditional rules of perspective. He developed this approach in his works, in which flat images of different scales overlay and interlace to show an object from a variety of viewpoints. When an eye accommodates to intersections of different planes and foreshortening, an illusion of three-dimensional space really appears. ( Hera. c. 1929, Adam et Ève. c. 1931).
During the World War II (1939-45) Picabia lived in Switzerland and in the south of France. After the end of war he returned to Paris, where he came into contact with the Existensialists. In his late works abstractions alternate with the grotesque.
Picabia also worked for the theatre, designed decorations for festivals and Gala-shows. He left literary works – poems and verses, art critics, articles on theory of art.
Picabia's art is appreciated by those who like irony, play of words, combination of different styles and modi.