Mina Loy's work, characterized by its candid exploration of women's lives, sexuality, and identity, has become a significant focus of critical scholarship. Her major works, such as Love Songs, "Parturition," and "Three Moments in Paris," are celebrated for their unsentimental portrayal of these themes. In her analysis, Carolyn Burke highlights how Loy carved out a new "psychic terrain" in poetry, challenging the traditional roles of women. Additionally, her socio-political convictions are manifest in "Aphorisms on Futurism" and the "Feminist Manifesto," which advocate for women's reform.

Despite initial acclaim from notable figures such as Ezra Pound and T. S. Eliot, Loy's modernist and autobiographical style, along with her forthright approach to sexual themes, often alienated mainstream audiences, limiting her appearances in major journals. However, critical attention, as explored in Rediscovering Our Sources: The Poetry of Mina Loy, has grown over time. Her work's engagement with feminism, Futurism, and free verse are increasingly acknowledged, especially within feminist and modernist scholarly circles.

Critics such as Roger L. Conover and Virginia M. Kouidis have delved into the reasons behind her marginalization, citing her meticulous writing process, self-imposed isolation, and diverse artistic pursuits. Her poetry, described by Kenneth Fields as intellectually rigorous, is acknowledged for its originality and continued influence on both modernist and post-modernist literature. Loy's distinct style, satirical brilliance noted by Yvor Winters, and bold explorations of syntax discussed by Alfred Kreymborg, cement her status as an innovative poet ahead of her time.