The last gave his students complete freedom to create what they wanted. She finished the five-year program in only three years, becoming one of the first female graduates from the school along with Helen Escobedo, Ángela Gurría and Geles Cabrera. In 1944 she married Samuel Rubinstein, with whom she has two children Ethel and Mauricio. When her children were young, she put her art on hiatus for the most part only working at times in the hallway where there was some light. She did not have a studio until 1952, which she shared with another artist and which allowed her to separate her work from her family life. She began her career in earnest in 1954. In 1967 she divorced her first husband, remarrying in 1979 to writer and journalist Sergio Nudelstejer. The couple supported each other's’ work attending conferences and exhibitions together and even sharing workspace, half sculpture studio and half office. Tosia Malamud died on July 16, 2008 in Mexico City. Although she graduated from university in 1943, she did not begin her career in earnest until 1954. She had two important exhibitions in this year, one with the Salón de la Plástica Mexicana and the other with the Havre Gallery of the Centro Deportivo Israelita, which brought her work to the attention of critics. Her sculpture was different from that of most others in Mexico as it emphasized depiction of motion. Her career continued until her death, and during this time she had over forty individual exhibitions in Mexico, the United States, Canada, Spain, the Netherlands, Bulgaria and Israel and participated in many more collective shows. Major early exhibitions include one at the Palacio de Bellas Artes in 1959 and an exhibition of sculptures at the Olympic Village for the 1968 Summer Olympics. During the latter event, one of the pieces, La maternidad (Maternity) was stolen and recovered and today can be seen at the Museo de Arte Moderno in Mexico City. Her last major exhibition while still alive extended from November 2007 to March 2008 at the Instituto Mexicano de Seguro Social building on Paseo de la Reforma in Mexico City, curated by her son Mauricio. This event was a retrospective held in conjunction with the release of her autobiography, but the artist could not attend because of her health. Her work can be found in both private and public collections in both Mexico and abroad. Some of her work was sponsored by the government of Mexico through the Department of Culture of the Secretariat of Foreign Relations and the old National Council of Tourism.