in the 1990s, employing collage, appropriation, Rococo pictorial strategies and kitsch elements to a greater degree, and adding more social and cultural commentary to her work. She combined her own paintings with found fabric, bric-a-brac, lace, decorative moulding, and cut-up elements such as fruits, flowers and jewels from mass-produced shopping-mall paintings, balancing an enigmatic lexicon of collected and invented signs, stylistic and tonal shifts, and far-flung cultural references in increasingly complex, Bosch-like compositions, such as Picturing a Model World (2003).Silverman, Lanny, "Floating Worlds: The Art of Phyllis Bramson," One Thousand Secret and Scattered Yearnings: Phyllis Bramson, Exhibition catalogue, Boulder, CO: Boulder Museum of Contemporary Art, 2004. In works like Little Goody Two Shoes (1996), Bramson fractured and exploded the rectangular format with piled up, supplemental framed paintings and objects. Observing the myriad symbols of female sexuality—all out of reach of the male presences—critics suggested these densely-layered works created new types of pictorial space with their own internal logic beyond what seemed apparent. In these new configurations, Bramson re-coded banal or sweet imagery through juxtaposition and association in order to express, variously, female physicality, sensuous pleasure, a reclaiming of kitsch, and a sense of cultural apprehension. Against the notion that these paintings were "too over the top," Kathryn Hixson argued that they "offer sensuous pleasure fraught with heated desire and attest to the power of decoration to mesmerize." Critics contend that Bramson's paintings of the 2000s have become more excessive and peculiar, offering fantastical, gender-bending images and atmosphere that refuse easy interpretation.Dluzen, Robin. "In Peak Form," art ltd. Magazine, Sept/Oct 2016, p. 65–70. Art in America's Robert Berlind described them as a combination of "sensual allure and downright goofiness" that "shuttles viewers between pleasure, humor and puzzlement." Three-dimensional works (2006– ) In the 2000s, Bramson increasingly realized the object-based qualities of her earlier bas relief paintings. These more sculptural works incorporate assemblage and arrangements of found objects, with shelves and other elements projected off of walls, as in her "scroll works" first begun in 2006 (e.g., A Glimpse of Paradise'', 2015). In the scroll pieces, she combines characteristic romantic imagery and allusions—painted on long, flowing sectioned sheets—with souvenir-like objects that suggest desires and memories assigned to and re-packaged into icons. Together, the visual elements imply the unfolding and revealing of fantasies and histories of the eclectic cast of characters Bramson has borrowed from kitsch and other cultural sources. Curating In 2019,