Fox began contributing illustrations to major periodicals in the late 1940s. In 1951, she joined the Charles E. Cooper Studio, considered one of the most influential studios for commercial art and photography. Her work appeared in Better Homes and Gardens,  Woman's Day,  Seventeen, and  McCall's, in addition to many other national publications. She also illustrated book and album covers, children's books, and advertisements. Fox, who was later represented by Frank Lavaty and Jeff Lavaty, worked in a variety of media, including pencil, watercolors, and oils. In addition to commercial work, she exhibited in numerous galleries and museums, often alongside her husband, fellow illustrator Bernie D'Andrea. Her work is included in the collections of the Society of Illustrators Museum of American Illustration.

Fox began teaching illustration at Parsons School of Design in 1965, and remained at the school until shortly before her death in 1976. In 1977, she was the subject of an article in American Artist by illustrator and former Parsons instructor Murray Tinkelman, who identifies her as one of the first artists to successfully demonstrate the viability of illustration in an age of photography. Fox consistently stressed the importance of finding her "inner vision" as an artist and illustrator, a trait that allowed her to interpret commercial assignments in often arresting and unconvential ways. In 1979, Lorraine Fox was inducted into the Illustrators Hall of Fame, and remains one of the few female illustrators to receive this recognition.

Unidentified illustrations in the collection primarily consist of color transparencies of Fox's illustration work. The transparencies are divided into categories based on subjects depicted in the drawings. Common thematic elements are: animals, children, fantasy/futuristic scenes, heterosexual couples, medicine and health, relationships and sexuality, and women.

Non-commercial work consists of drawings featured in group shows. This series includes a clipping from a catalog featuring a self-portrait, along with a painting for an untitled anti-war show mounted by the Society of Illustrators.

Printed materials include RCA album covers for classical recordings, book jackets, Christmas cards, pharmaceutical advertising packets for Haldol and Pharmascan (Geigy), and magazine illustrations. Periodicals represented include Boy's Life,  Family Circle,  New Times,  Seventeen, and  True. Notable is a proof for a print advertisement seeking sponsors for a Westinghouse-produced documentary about Lady Bird Johnson.