On her return to Mexico, she entered National School of Fine Arts froM 1989 to 1992, attending the gravure workshop given by Jesús Martinez and Maria Eugenia Figueroa.[2] Distinguished critics have written about her work, such as Salvador Elizondo, Miguel Ángel Muñoz, Santiago Espinosa de los Monteros, Alberto Blanco and Gonzalo Velez.According to Salvador Elizondo, art critic from Milenio newspaper, these paintings represent the point at which the movement and life balance are expressive forms and unique heritage.Sandra Pani's paintings exhibited in her exposition of 1994 (Gallery Lourdes Chumacero) presume that had surfaced since then in this artist boldly pursued the ideal of Leonardo and Dürer: "Penetrating geomentría mechanisms and in the body, but in a less categorical, freer, more lyrical.[4] According to Miguel Ángel Muñoz art critic from El Financiero newspaper, Sandra Pani belongs to a generation of artists that has considered painting as something exhausted, old fashioned and, to a certain extent, dead.[5] In the La Jornada newspaper, Muñoz states that Sandra Pani's drawings at the Festival Internacional Cervantino on its 39th edition in 2011 were in effect a decantation, which runs and drips as something that falls within a long time to stay only with the essence.[6] Santiago Espinosa de los Monteros from Casa Lamm Gallery, says that using only a few lines she describes moments in an almost Oriental style, drawing simple and almost rudimentary sketches over her two-dimensional medium in a way that bares the work - unbridling it from anything that might stop it from achieving total expression.