Loló Soldevilla traveled to Paris in 1949, working as a cultural attaché in the Cuban Embassy and studying sculpture at the Académie de la Grande Chaumière. In 1950 she returned briefly to Cuba, presenting sculptures and paintings in her first two solo exhibitions. Back in Paris in 1951 she took part in the Atelier d’art abstrait and turned to geometric abstraction. Her works of the 1950s, which mostly feature geometric forms, include slender metal sculptures (Stables), paintings reminiscent of celestial alignments, and luminous reliefs inspired by her collaboration with the Spanish kinetic artist Eusebio Sempere (1923–1985). From 1951 to 1955 she participated in the Salon des Realités Nouvelles (Exhibition of New Realities), and in 1956 she permanently returned to Havana. There she organized the exhibition Pintura de hoy. Vanguardia de la Escuela de Paris (Painting Today: Vanguard School of Paris; Palacio de Bellas Artes, 1956) and opened the Galería de Arte Color-Luz (Color-Light Art Gallery) with Pedro de Oraá (b. 1931) in 1957. The gallery became central to the group Diez Pintores Concretos (Ten Concrete Painters), which Soldevilla co-founded in 1958. Following the Cuban Revolution, Soldevilla’s artistic output decreased, although she taught at the Escuela de Arquitectura (School of Architecture) in Havana (1960–1961), edited the communist newspaper Granma (1965–1971), and founded the group Espacio (1965) to mentor young artists.