She also photographed men, in common with feminist practice of the 1970s, to reverse the traditional position of men's visualization of women - 'the male gaze'. Her "Sexual Rapport" series (1972–1976) consists of image of men, whom she had photographed in the street in Hoxton, London and Little Italy in New York: they include workers on lunch break and policemen, who are shown in a friendly and good-natured fashion. Hunter then marked the photographs, "Yes", "No" or "Maybe", to indicate the level of sexual rapport she felt existed with the subjects. In 1978 her photographic exhibition "Approaches to Fear" was staged by Sarah Kent, who was then Exhibitions Director at the Institute of Contemporary Arts in London. That year she showed at the Hayward Annual, in 1979 at the Palais des Beaux-Arts, Brussels, and in 1981 at the "Summer Show 2" at the Serpentine Gallery, London. She was included in "Contemporary Acquisitions" (The Imperial War Museum, London, 1981), "Mythic Landscapes and Memory Series" (Totah Gallery, New York, 1984), "Whitechapel Open" (Whitechapel Gallery, London, 1987), "Alter/Image: Feminism and Representation in New Zealand Art 1973-1993" (City Gallery Wellington and Auckland Art Gallery, 1993-1994), "Fantasy" (Touring: United Arab Emirates and England, 1994), and "Technomyths" (Whitespace Gallery, Auckland, New Zealand, 2002). She showed work in group shows at the Stuckism International Gallery in 2003. In an interview with Lisa Sabbage, she explained how she returned to painting in the early 1980s to explore the political difficulties of the medium, using it to examine psychology and fantasy from a feminist perspective. A revival of interest in early feminist art led her in 2007 to stage a show of older work, "Alexis Hunter: Radical Feminism in the 1970s", shown at the Norwich Gallery, England, and at the Whitespace Gallery in New Zealand. Kathy Battista in Frieze said the show, "situated her practice as an important contribution to Britain's feminist movement within the visual arts." Hunter said:  The black-and-white image used for the exhibition catalogue cover from her 1970s "Sexual Rapport" series, showed a man's bare torso, wearing leather trousers, with the twin towers of the World Trade Center in the background as the "ultimate phallic symbols", while he holds a smoking cigarette at the level of his penis.