flexible materials, she painted layers of latex on the old plaster walls of her studio, stripped them off, and then mounted the casts on two-by-four frameworks leaning against the wall. She saw her practice as a way of drawing people into spaces that are initially familiar but that later appear new. She used familiar building materials like wood lath, covering or partially covering frameworks to create free-standing partitions, columns and vaults. This work was shown at the 55 Mercer Gallery and in the Whitney Museum Annuals in 1969 and 1971. After doing her first outdoor work in 1977 using traditional barn framing techniques, she began to work with large wooden slabs and timbers and laminated wood arches to make sculptures that, though not precisely architectural fragments, suggested larger structures. "...Adams' pieces always hint at something larger. Doorways hint at the wider world, and personal memories grow into collective memories about built places." This architecture related sculpture was shown in 1979 and 1981 at the Hal Bromm Gallery in New York, and in 1984 was part of "An International survey of Painting and Sculpture" at The Museum of Modern Art, New York. Earthworks and site sculpture Adams' site-specific sculptures of the 1970s provide a link to her later and most recent public art. Several of these employed heavy earth moving equipment and "Shorings" (1978) at the Artpark, Lewiston, New York; "Mound for Viewing Slope and Sky" (1981) at Princeton University; and "Vertical Up for OOIC" (1983) in Omaha, Nebraska; depended upon the shape, weight and placement of the earth. In other works like "Leveling" (1977) and "Three Structures on a Slope" (1978), the structure measured the elevation of the ground on which it stood and earlier references to architecture developed into actual architectural exercises. The "Adams' House" (1977) and the "Lost House" (1979) of this time used the structure and vision of the house as containers of collective and individual memory. The work of women whose work related to the 1970s was organized into the exhibition "Decoys, Complexes and Triggers: Feminism and Land Art in the 1970s" in 2008 at the Sculpture Center in NYC and included Adams, Mary Miss, Nancy Holt, Jackie Ferrara, Alice Aycock, Agnes Denes, Michelle Stuart, Suzanne Harris and Lynda Benglis. Public art Adams' site sculptures of the 1970s at venues like the Artpark and the Nassau County Museum of Art were commissioned and funded but, like