reflects a deep commitment to content and well as process, incorporating intellectual analyses of social codes with an emphasis on psychological and emotional content. Fundamentally interdisciplinary in content and form, Lemieux’s work is a continual exploration and explication of our cultural constructs and how objects that reflect the self define the self within the culture. In her review of Lemieux's major retrospective "The Strange Life of Objects," Elizabeth Michelman explains that, "[In] addressing her content-laden material systematically, not sentimentally, Lemieux places objects and images in predicaments that are highly structured and memorable. In both two- and three-dimensional formats, she appropriates and wittily recontextualizes furnishings, texts and photographs rescued from history, popular culture and personal records." In her recent show entitled Unfinished Business at the Carpenter Center, Harvard University, Lemieux explored the territory between object, mediated memory, personal experience and cultural history that has informed her practice for three decades. Lemieux’s objects and imagery derive directly from the world as it exists, not from the recesses of a private imagination that must search itself to produce the substance of invented images. With representative examples of her work in over 50 public collections, Lemieux has been the focus of two recent exhibitions organized by the Krannert Art Museum and Harvard University. In 2017, awarded with the Maud Morgan Prize Lemieux had the space to exhibit her work at the Museum of Fine Arts Boston. In an article about the exhibition, Lemieux remarks that she did not intend for her work to come out as political commentary, but due to the current political climate after the United States 2016 elections, viewers could not help but feel their current worries and the tensions reflected in Lemieux's work. Lemieux remarked that what she creates are "duets," taking objects from different places and times and blending them together, leaving her 2017 exhibit, "hair-raising polarity between peril and play." Lemieux has also revised her works as the Global Correspondent reported, "The Day after the election last November, Lemieux e-emailed the Whitney Museum of America Art and instructed them to upend her piece 'Left Right Left Right." The raised fists in 30 photolithography now point downward." As Lemieux remarked that she created the piece in a time of optimism and felt that the piece needed reflect the time rather than a past moment. Lemieux is represented by Elizabeth Dee Gallery in New York. Collections Lemieux's work can be