images focused on guilt, called Spectral Latencies, at the Center for Interdisciplinary Research, Bielefeld in Germany. Time-related works Mulfinger has created time-based installations employing movement, chance and performance and individual works based on transient natural processes. The latter include sequential etchings on glass that chart formations of clouds (No Image No Matter, 1998), volcanic debris (Helen's Body, 2001) and hurricanes (Catarina, Fran, Hugo, Roslyn, 2015). In the installations Device for Irregular Apparitions (1997), Filled with Content, Emptied with Form (1999), Dangling Modifier (1999) and Exacting Minutia While History Repeats (2004, 2007), she used down feathers blown blizzard-like by industrial fans within large, often Plexiglass, spaces to explore dematerialization, motion and light effects, the passage of time, and the rise and fall of history. With Mobile Apparitions (2003), Mulfinger took this work out of galleries and into the streets of Los Angeles, London and Venice, wheeling large glass tubes and life-sized aluminum and glass boxes that slowly propelled enclosed feathers to bring ethereal moments of contemplation and visual pleasure into contrast with the fast pace of city life. The Drunkard Forwarned and the Swearer Caution'd (1999–2004) combined Mulfinger's interests in text, time, and interactivity in an installation consisting of a silver Spandex-like bouncy castle that viewers sat on, projected floating clouds, and dangling silver plaques engraved with medieval virtues and vices that tarnished at different rates in a consideration of historical moral systems. Los Angeles projects Between 2004 and 2009, Mulfinger created two multi-disciplinary, research-oriented projects that examined Los Angeles as an object of urban decline and renewal. The Fictive City and Its Real Estate: The Tale of the Transcontinental Railway (2004) focused the use of Chinese labor for the transcontinental railway and the demolition of the original Chinatown during construction of Union Station; with text contributions from urban historian Norman M. Klein and artist Annie Shaw, it probed the role of railroad construction in configuring borders, places and relationships, buried ethnic, racial and class narratives, and the subjective nature of accepted history. The work incorporated performance (a two-mile, live model railroad construction and journey from Union Station to Chinatown, which also served as a quasi-historical tour), video, and a gallery installation in the New Chinatown Barbershop that included old maps from the archives of the Chinese Historical Society. Autonomy is No Longer Possible or Interesting, Part I (2009) focused attention on a shuttered community center, the Julia Morgan-designed Pasadena YWCA.