a feminist critique of 1960s, hard-edged abstraction. Career as educator Sensemann began teaching in 1973 at the School of Art and Design at the University of Illinois Urbana-Champaign. She earned tenure at age 30, leaving as an Associate Professor in 1981 for the School of Art and Design, University of Illinois at Chicago. As Professor at UIC, she taught studio classes, created a course on writing for artists, and led a class in Rome. Some of her students include conceptual artist Tom Friedman, writer Mira Bartok, mixed-media artist Arturo Herrera, and sculptor Jorge Pardo. Sensemann served in several capacities at the School, including appointments as Director of Graduate Studies (1986–90), Acting Director (1989–91), and Director of Undergraduate Studies (2000–05). In 2010, she retired as Professor Emerita. Sensemann's educational experience also includes teaching international workshops at the Royal Conservatory of Brussels and lecturing on painting, feminist work, contemporary women in the arts, and her own work at institutions in China, Italy, Germany, South Korea and the U.S. She has been selected as a visiting artist at more than twenty schools including the Cranbrook Academy of Art, Jilin Normal University (China), Texas Woman's University and School of the Art Institute of Chicago. Curating and writing Sensemann has been an active curator, at venues including the Evanston Art Center, Gallery 400, and Artemisia Gallery. Described as "curatorially adventurous," her shows have explored signature themes such as pleasure, eroticism and excess ("Libidinal," "Heat," "Obsession," "Touch," "More is More"), the body ("Physiotasmagorical," "Brain/Body"), and feminism. The shows "Skew: The Unruly Grid" (1995) and "Pleasure (Beyond Guilt)" (1996) investigated and critiqued masculinist traditions of the grid in art and the production of art for the (traditionally male) voyeuristic gaze, respectively. Sensemann has written catalogue essays to accompany her curated exhibitions, as well as pieces on artists such as Hannah Höch, Miyoko Ito (an influence on Sensemann's abstract work of the 1980s), and Claire Wolf Krantz, for publications such as Design Issues and Art Papers. She has also written poetry and fiction, and given performances of her work at galleries and clubs. Her "Consorting with Nathaniel Hawthorne" series (2002–4) paired photomontages of her face and silk funerary arrangements, such as Burst... (2003), with poems on love and loss that she wrote through a self-devised game plucking words from Hawthorne's short stories. In recent years, she has turned to fiction writing, including two short stories, "Encountering History" (2016)