In the latter years of her working practice Choucair once again focused on the trajectory of a line or arc, exploring the effects of tension, space and repetition on a single line. The fragile but impressive acrylic and nylon wire pieces shown in Room 4 aim to demonstrate how a line, following a route to define a shape, when continued and repeated, transforms into an infinite pattern, one which appears to move and twist as the viewer circulates it. The artist also became interested in sculpting with water, designing fountain heads that forced fine jets of water to take on the trajectory of the line or the appearance of a complex woven thread. Many of her pieces from this period also explore the potential kinetic movement within a material or structure.
Throughout the 1980s and 90s Choucair received increasing recognition and awards for her work within Lebanon. In 1982 she was commissioned by the Lebanese Lions Club to create a major public sculpture. The piece was installed at the southern entrance to Beirut, but was vandalized and then disappeared completely. Choucair went on to complete further commissions in the 1990s, one of which now stands at the Gibran Khalil Gibran Garden in downtown Beirut. In 2011 a major retrospective of her work was held at the Beirut Exhibition Center.
Although having ceaselessly produced work for the best part of five decades, Choucair has remained under the radar internationally. Held back by circumstance, she has not yet reached her deserved position in art history but has always worked with an irrepressible passion, believing in the potential of an idea and always keeping it at the forefront of her work.