After graduating from Cooper Union and encouraged by the school's director of alumni relations, Marilyn Hoffner, Goldberg met with alumni Lou Dorfsman at CBS and worked up a series of logos for him.[5] Dorfsman hired her as a junior designer where she began her career in the corporate design department of CBS Television in 1977. There she gained an appreciation of finely tuned typography.[9] She moved on to Columbia Records in 1979 and worked with former classmate Gene Greif, as well as Paula Scher, Henrietta Condak, and John Berg. There, along with Scher and others, she found inspiration in early 20th-century graphics and began to incorporate historical references into her work.[7][10]
In 1982, Goldberg started her own firm, Carin Goldberg Design. She continued to work for record label clients, but also sought out book design assignments.[9] Her projects included the design for Madonna's 1983 self-titled debut album.[11][12] Her work on the cover for the 1986 Vintage Books edition of James Joyce's Ulysses placed her in the midst of the 1980s fight over appropriation. The tilted lettering and large initial caps in Goldberg's design for the Ulysses cover bore strong similarities to a 1928 poster by Paul Renner.[2][7][13][14]Philip Meggs praised her in his 1989 essay "The Women Who Saved New York!" for using historical styles in contemporary design,[9] while Tibor Kalman vilified her for practicing "jive modernism" in his 1991 Print essay "Good History/Bad History."[13]
In 2008, she was honored by the Art Directors Club for her work in education.[17] In 2009, she received the AIGA Medal for her contributions to the field of graphic design.[7] Her alma mater bestowed her with the Augustus Saint-Gaudens Award in 2012.[6][18] Goldberg won the Cynthia Hazen Polsky and Leon Polsky Rome Prize for Design in 2014.[15]