2001, influenced by her visit to the National Association of Broadcasters' convention in Las Vegas, Deschenes created her series Blue and Green Screens (2001-2002), which foregrounded the invisible backdrops used for special effects in film production. Work Deschenes explores the materials and properties of photography, light, and perception, often in relation to the architectural environments within which they are displayed. Curator and critic Matthew Witkovsky has written that Deschenes' work "pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility." At the same time, Deschenes engages with the legacy of Minimalism, drawing attention to the techniques of the observer by deploying old photographic methods and techniques such as the photogram and the daguerreotype. Deschenes "calibrates her works to the site" in order to reveal the spectator's relationship to the space, whether by encouraging new visual encounters or responding to and disrupting the architectural space. Major works In 2007, Deschenes presented her series of photographs titled Moiré (2007) at Miguel Abreu Gallery's "Registration" exhibition. For the work, Deschenes photographed a sheet of perforated paper filtering the light coming through the window, and layered the negative with a duplicate in an enlarger to create an abstract image with illusions of movement. Moirés were paired with Red Transfer (1997), a diptych of monochromatic dye transfer prints with subtle differences in hue. The dye transfers' matrices alignment served as a counterpoint to the misregistration in the Moirés series. In an interview with Mousse Magazine in 2014, Deschenes noted that the Moires series sought to "confound" the limitations of making something "with a property largely outside of the confines of photography and expectations that are brought to looking at a photographic work." Two years later, in 2009, Deschenes created Tilt / Swing (2009), an installation of six "silver mirror" panels arranged in a 360-degree floor-to-ceiling configuration. It was based on an unrealized exhibition design conceived by Herbert Bayer, a Bauhaus artist and architect, in The Fundamentals of Exhibition Design. While Bayer's schema sought to be "an inclusive picture of all [viewpoint] possibilities," Deschenes' installation resulted in a fragmentation of the surrounding environment. Commenting on the title of the work, Matthew Witkovsky has written that the words tilt and swing evoke "abstract issues of viewpoint and manipulation, for example the ways in which the spectatorial subject is turned or focused in the controlled setting of a museum building." At the