Around 1912, the family moves to a large apartment at 7 Meinekestrasse, near the Kurfürstendamm, and Anni’s mother arranges for her to have an art tutor, Toni Meyer, who comes to the house and has her draw nude figures.

In about 1915, Anni goes with her mother to Dresden in the hope of studying with Oskar Kokoschka, but he turns her down and discourages her from becoming an artist.

From 1916 to 1919, Anni studies painting with Martin Brandenburg, an Impressionist painter.

Anni attends the Kunstgewerbeschule (school of applied arts) in Hamburg for two semesters. She considers the textile methods there “sissy stuff.” A friend, Olga Redslob, gives her a brochure for the newly formed Bauhaus in Weimar.

Anni moves to Weimar and applies to study at the Bauhaus, where she was initially turned down. Then a student in the glass workshop, Josef Albers, helps her prepare more thoroughly for the entrance exams, and she’s admitted. Anni enters the mandatory Vorkurs (preliminary course) at the Bauhaus on April 21, 1922, studying with Georg Muche in the first semester and with Johannes Itten in the second.

After completing the Vorkurs, Anni enters the weaving workshop in 1923. There she assists in dyeing yarns and makes her first wall hangings and yard materials. She and her fellow students participate in the first official Bauhaus exhibition in 1923, furnishing the experimental Haus am Horn with textiles.

Anni’s writings are published for the first time. Her piece on “Bauhausweberei,” appears in a special Bauhaus issue of the magazine Junge Menschen, as part of Gropius’s drive to elicit public support for the Bauhaus. Her article “Wohnökonomie” is published in a women's magazine. It promotes the Bauhaus idea of design for efficient living.

On May 9, 1925, three years after Anni first met Josef Albers at the Bauhaus in Weimar, they are married. They travel to Italy for their honeymoon. That same year the Bauhaus moves from Weimar to its new structure in Dessau, designed by Gropius.

Anni begins to work on the double and jacquard looms. Color illustration of her wall hangings are published in the German journal Offset and in Tapis et Tissus, a portfolio selected by Sonia Delaunay.

Anni designs wall coverings and curtains for the Theater Café Altes in Dessau. She also designs the curtains for a theater in Oppeln. That same year, the Alberses take a trip by banana boat to Tenerife.

Gropius leaves the Bauhaus, and Hannes Meyer, a Swiss architect, takes his place. The Alberses move into the master’s house vacated by the Moholy-Nagys and become neighbors of the Klees and the Kandinskys. Anni becomes an assistant in the weaving workshop under Stölzl’s direction, and from September to December the following year and again in the fall of 1931 she replaces Stölzl as acting director.

Anni is awarded her Bauhaus diploma for the wallcovering material for the Bernau auditorium. The same year, two of her works are shown in Ausstellung Moderner Bildwirkereien, an exhibition of Modern textiles. During the summer she travels with Josef to San Sebastián, Spain, and to the Tyrol, Ascona and Lake Maggiore in Italy. In August, Mies van der Rohe replaced Meyer as director of the Bauhaus, and appointed Reich as the new director of the weaving workshop.

At the important Deutsche Bauausstellung (German building exhibition) in Berlin in July, Anni's work is awarded the Stadt Berlin Prize.

Funding is withdrawn from the Bauhaus by the city of Dessau and the school is forced to move to Berlin. Josef and Anni move to an apartment at 28 Sensburgerallee, in the Charlottenburg neighborhood of Berlin.

On April 11, the Bauhaus closes its doors for the final time. Anni meets, by chance, the American architect Philip Johnson, and invites him to have tea with her and Josef in their apartment, where Johnson is particularity impressed by Anni's textiles. On August 17, Johnson writes to the Alberses, inviting them on behalf of the trustees of Black Mountain College, to come to the United States. The couple arrive in New York on the S.S. Europa on November 24.

Inspired by her Mexican travels Anni makes two monumental weavings, Monte Albán and Ancient Writing.

The Alberses put together an exhibition of Mayan art at Black Mountain College. In New York, Anni is at the docks to meet their former Bauhaus colleagues Walter and Ise Gropius who are emigrating to the USA. Anni’s parents arrived in Veracruz, Mexico, on June 18, meeting the Alberses (who were on their third Mexican trip) in Mexico City the following day.

In the 1940s, Anni begins to make small-scale weavings, which she mounts on linen bases and frames. The weavings are exhibited widely in the 1940s, and she is in demand as a teacher, a lecturer, and a writer. On May 5, 1941, an exhibition of jewelry that Albers had made with a student, Alex Reed, from curtain rings, hairpins, paper clips, bottle caps, glass drawer knobs, clay insulation, metal washers, and other household items, opens at the Willard Gallery in New York. The exhibition then travels to the Katherine Kuh Gallery, Chicago; the Addison Gallery of American At, Andover, Massachusetts; the Fitchburg Art Center, Fitchburg, Massachusetts; and the Museum of Art, Smith College, Northampton, Massachusetts

Anni receives a commission from Philip Johnson to create a drapery fabric for the Rockefeller Guest House at 242 East 52nd Street in New York City. Using cotton chenille, white plastic, and copper foil yarn she creates a fabric which is transformed into a sparkling surface at night.

With the pictorial weaving La Luz, Anni inaugurates a new phase of her work that will continue through the next two decades. In Mexico, Anni collects pre-Columbian and contemporary textiles for the Harriett Engelhardt Memorial Collection at Black Mountain College (now housed at the Yale University Art Gallery).

Invited by Walter Gropius, Anni contributes to the interiors of the Harvard University Graduate Center. Anni designs textiles for bedspreads and room dividing curtains for student dormitories.

Anni continues her experiments with textiles for production, and works with the manufacturer Knoll on the realization of her design as yar materials. She makes twenty-four of her thirty-six pictorial weavings during this decade, and she teaches at art schools across the United States.

The Honolulu Academy of Arts has an exhibition of Anni’s weavings.

In January, Anni’s ark panels for Temple Emanu-El in Dallas, her first synagogue commission, are installed.

Anni recieves a second synagogue commission, for ark panels for Congregation B’nai Israel, Woonsocket, Rhode Island. That same year the American Institute of Architects recognizes the significance of Albers’s work within their profession and honors her with the AIA’s Craftmanship Medal.

Accompanying Josef to the Tamarind Lithography Workshop in Los Angeles, Anni begins to experiment with lithography techniques, creating Enmeshed I and Enmeshed II, her first works in this medium. She is also commissioned to write an entry on hand-weaving for a new edition of the Encyclopedia Britannica published in 1963, and this becomes the first chapter of On Weaving, her treatise on “textile fundamentals and methods” published by Wesleyan University Press in 1965.

Anni is invited back to Tamarind as a fellow and produces the portfolio Line Involvements.

Anni’s seminal text On Weaving is published by Wesleyan University Press.

Six Prayers, a commemorative tapestry of six panels is commissioned by the Jewish Museum in New York.

When the Alberses move to 808 Birchwood Drive in Orange, about ten miles from New Haven, Anni gives up weaving altogether in favor of printmaking. An exhibition of Anni’s work—her first major show in Europe—is shown at the Kunstmuseum in Düsseldorf and at the Bauhaus-Archiv, Berlin, in 1975. She continues her experiments in printmaking, working with Ken Tyler (whom she knew from Tamarind) at Gemini G.E.L. IN Los Angeles and later at Tyler Graphics in New York, and extending her techniques in screenprinting and etching.

Anni decides to produce prints at a commercial printing house, Fox Press, in Hartford, Connecticut. It is the first instance of fine art prints being created in this sort of facility, and she invents unprecedented techniques for using the new technology.

Anni combines the screen-print technique done at one workshop with commercial processes done at Fox Press, using the unprecedented juxtaposition for extraordinary results in the prints PO I, PO II, and WCO.

Anni, while deliberately avoiding what she considers to be the stereotypical role of "artist's window," begins to assume the vast responsibility of handling Josef's legacy.

The textile artist Jack Lenor Larsen presents Anni with the American Craft Council Gold Medal in New York.

Anni designs a range of textiles for Sunar.

Anni presides over the opening of the Josef Albers Museum in Bottrop, Germany, Josef’s birthplace.

Connections, a portfolio of nine screenprints, some based on her earlier designs from the Bauhaus, is published in Milan by Fausta Squatriti Editore.

A retrospective exhibition, The Woven and Graphic Art of Anni Albers, was presented at the Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, D.C., in 1985 and traveled to the Yale University Art Gallery, New Haven, Connecticut, in 1986.

Anni travels to London to accept an honorary doctorate from the Royal College of Art. She also receives an honorary doctorate from the Rhode Island School of Design, Providence. Anni’s work is once again seen in the Museum of Modern Art in 1990, this time alongside works by one of her former Bauhaus colleagues, in the exhibition Gunta Stölzl, Anni Albers.