pointedly referenced the nation's political, religious, and social divisions. Text-based works In the 1990s, Mulfinger frequently used found text and symbols in works that examined cultural history, the elusiveness of memory, and the simultaneous potency and limits of language. In several series, she etched second-hand prescription eyeglasses with braille, Morse code or musical notation (Spectacles, 1991), poetry (No Vacancy, 1991), or first-hand accounts of intense sensory experiences (Lost for Words, 1991), often one word or phrase per lens; lined up on glass shelves, the dramatically lit, delicately shadowed pieces formed hard-to-read passages or paragraphs. Critics, such as Sue Hubbard, described them as "subtle, witty and poetic" takes on the paradoxes of comprehension and mystery, illumination and blindness. Conceived against the backdrop of European Union negotiations and plans for the Channel Tunnel, Mulfinger's commissioned Common Knowledge (1992) featured thirteen ethnic jokes (in their original languages) about various Europeans, sandblasted onto glass panels installed without explanation in windows at the ticket office of Saint Pancras Station, the planned Channel Tunnel terminus. Critic Sarah Kent judged the work's exposure of publicly excluded, but privately common xenophobic discourse as "both funny and offensive"; The Economist puzzled over its intent and mix of the aesthetically beautiful, timely and "rude." Mulfinger's interest in textual artifacts and private experience made public evolved into the Regrets project, which has delved into introspection and its potential for renewal through the collection and display of anonymous regrets. The project began as an installation at Franklin Furnace Archive (1995); it featured locally collected regrets etched onto rear-view mirrors atop stilts that reflected projected, site-specific satellite and human imagery. Art Monthly wrote that the rear-view mirror metaphor "tease[d] poetic resonances out of unpromising materials;" other reviews noted how the obscured legibility of the text acknowledged ambivalent desires for disclosure and secrecy. Five site-specific versions followed in Estonia, London, Brussels, Turin and Northern Ireland. Between 2005–8, Mulfinger collaborated with Graham Budgett to stage Regrets as an interactive street project in Cambridge, Linz, Santa Barbara, and Paris. Employing a mobile "confessional"-like booth and five roaming backpack units, they collected local regrets (later projected onto public spaces), and in return, provided participants with five algorithm-determined, similar regrets, intended to offer relief through solidarity. The Guardian described the project, which has built an archive of tens of thousands of regrets in four languages, as "surprisingly poetic." In 2018, Mulfinger created a similar project collecting stories and