In March 1921, Borges returned by boat to Buenos Aires. As a young painter, she aligned herself with the vanguard artists of the Florida group. Her work in "Prisma" (1921) reflects the ultraist (anti-modernist) ideas of the group, but her illustrations for magazines such as "Mural", "Proa" (1924-1926) and "Martín Fierro", and her illustrations in the first edition of the poetry book "Fervor de Buenos Aires" by Jorge Luis Borges (1923) reveal the influence of the Cubism that she had begun to assimilate with her French contacts in Spain. In 1923, the French surrealist magazine "Manomètre", and, in 1924, "Martín Fierro" published her paintings. In the September-October 1924 issue of "Martin Fierro", Borges' first collection of poems called "Calle de la tarde" were displayed. Also in 1924, Borges created a woodcut cover for the Mexican journal, "Antena". Two years later, two of her illustrations were in the magazine "Amauta". When creating for "Amauta", she was working underneath José Carlos Mariátegui, who used illustration has a tool to help women artists in Latin American advertise their artwork.