Levytska worked across easel painting, monumental-decorative art, graphics, and icon painting. In various Ukrainian cities, she decorated cultural institutions and public spaces using techniques such as sgraffito, mosaics, and colored and textured plaster. She is the author of the egg-tempera mural Ivan Fedorov (1963) at the Lviv Printing College, which can still be seen on the third floor of the institution.

Following the methods of Pablo Picasso and Georges Braque, she created a series of painterly and graphic compositions, including Hutsul Still Life, Russian Still Life, Electrical Appliances, Still Life, Blues, and Still Life with Guitar.

In 1965, Levytska was expelled from the circle of candidates for the Union of Artists of Ukraine (she had been a candidate since 1962) for formalism (officially, because of a late application for membership).

Throughout her career, Levytska’s works combined realistic forms and narrative imagery with metaphorical and grotesque perspectives: Harmony, To Err Is Human…, Everyone can dance, but not like a buffoon..., and Proverbs. Her graphic portraits and figurative compositions from the early 1970s were soaked with themes of social alienation. In the late 1970s, she developed a highly technical style characterized by a balance between genre graphics and metaphysical imagery. From this period emerged works with biblical themes, which interwoven with post-industrial rebellion, including the series Human Life, The Commandments, Seasons, and compositions such as The Last Supper and Sheepishness.

In 1985–1990, influenced by the work of Oleksandr Aksinin, Levytska adopted his hermetic artistic language and created the graphic series Aksiniana based on the Chinese Book of Changes and the Eastern calendar.

Levytska also created numerous Baroque-style icons for the restored iconostases of St. Michael’s Golden-Domed Monastery and the Assumption Cathedral of the Kyiv Pechersk Lavra.

Throughout her career, she continuously experimented with new techniques and materials, working in graphics, mosaics, painting, and iconography. Despite the diversity of her work, Levytska’s style remained recognizable, marked by complex compositions and meticulous attention to detail.

Her constant search for innovation enriched her own art and influenced the Lviv art scene. Inspired by lithography in 1968, she encouraged her fellow artists to explore the medium. After seeing a Lviv graphic artists’ lithography exhibition that included her work, her teacher Leopold Levytskyi also became captivated by lithography.
Levytska’s solo exhibition was held posthumously in 1996 at the Leopold Levytskyi Memorial Art Museum. Her works are preserved in the collections of the Ukrainian National Museum in Kyiv, the Lviv Art Gallery, the Andrey Sheptytskyi National Museum in Lviv, the Lviv Museum of the History of Religion, and in private collections abroad.