A majority of her work focuses on women, bringing a subtle examination of the rise of feminism. Portraits of strong women in leading roles illustrate the changing times. Her female nudes often exhibit a whimsy and playfulness through line and color, which rejects the Pop tendency for sexual objectification. Sloane, at times, appears to distance herself from her subjects creating a sense that the figures are in themselves an object in a still life composition. The figures become fully integrated into areas of flat pattern or they become locked between the interchangeable use of positive and negative space. Staff curator Christopher Richards says, "Through all of this, Sloane herself struggled with her role as a woman in society and in her own family as a wife and mother, while still maintaining the work ethic to be a successful fine artist."
Addressing issues of personal and public identity, feminism, and the figure as a still life object, Sloane created a body of work that embraces Pop Art's examination of the social issues of mass culture with her own twist. Claiming that by the 1960s the avant-garde had become academic and not fearing the term decorative being used as a negative description, Sloane embraced experimentation. This attitude freed her to explore the figure in nontraditional ways by flattening her figures and selecting the most characteristic aspects of their physical appearance to convey the sitters.