the 9/11 attacks. Its sheets are arranged on the wall like dominoes (or story panels) and depict incongruous imagery: an airplane flying through a room, everyday domestic elements, explosions, scenes of passage and escape, a sheep on a platform. John Parks of Drawing describes it as "a potent and thoughtful reflection on how public events intrude on and redefine our private lives, and conversely, how our private lives intrude on and redefine history," also noting its ability to convey connections and correspondences unavailable to a simple linear narrative. In Schulz's shows "An Insufficiency in Our Screens" (Aldrich Museum, 2007; Mills College, 2008) and "The Uneven Intensities of Duration" (2010, Smack Mellon; Wake Forest), the softer blending and merging of imagery in her earlier work gave way to razor-sharp detail, maximum contrast, and more dramatic, disruptive folds in her surfaces. These individual and multi-sheet drawings feature abandoned landscapes shot through with billowing darkness and light, dislocated interiors, and unexpected juxtapositions of size (tiny figures, vast spaces), non-sequiturs, symbols and collective memory (e.g., Suspended in the Midst of a Flood the Past Carries Itself into a Current Location and Pressures a Rescue from Geographical Forces, 2010). Reviews characterize this work as pristine and unsettling, photographically precise, and radically unstable like "optical obstacle courses"; Bay Area critic DeWitt Cheng describes Schulz's depiction of space as "episodic and contradictory, and impossible to grasp as a totality […] fractured, like our consciousness." In her "The Impossibility of Keeping Borders" (2011–2) and "Incursion of Otherness" (2013–4) series, Schulz explored crinkled textures and torn, irregular edges to a greater degree, while continuing to address historic upheavals like the Arab Spring through puzzling juxtapositions of desolate landscapes, buildings with semi-transparent walls, and elements such as miniature rowboats, beds, and penguins. Her "Territory of Significance" (2015–6), "Groundlessness" (2017–8) and "Voyage" (2018–9) series increasingly suggest maps, both through their irregular, continent-like shapes and mash-ups of deconstructed, varied terrains and settings spilling over and growing out of folds and bends in the paper. Works such as An Early Map with No One to Say When the Ocean Begins or Traversing an Open Interior (both 2017) feature archaeological, geological and life forms seen from above suggesting timeless societal, environmental and internal processes taking place in a divided world. Later paintings After a long hiatus from painting, Schulz returned to it in 2012, incorporating insights gained from her charcoal drawings, while returning to