pun on 'es posible', Spanish for 'make it possible'): Transformer, 1973, a floor to ceiling grid structure with tissue paper covered with the artist's marks, and Enquires, 1973, a slide show of facts collected from a British encyclopaedia meant to emphasize culturally partisan definitions in what is considered an objective and equitable source of information. Her artistic practice was innovative for her time and included a variety of media and performance-based work. In the early 1970s Hiller created participatory 'group investigations' including Pray/Prayer (1969), Dream Mapping (1974) and Street Ceremonies (1973). These works originated in her conviction that "art can function as a critique of existing culture and as a locus where futures not otherwise possible can begin to shape themselves." Over the course of her career, Hiller became known for making use of everyday phenomena and cultural artefacts from our society, drawing inspiration from sources as diverse as postcards, dreams, automatic writing, archives, Punch & Judy shows, UFO sightings, horror movies and narratives. Using the techniques of collecting and cataloguing, presentation and display, she transformed these everyday pieces of ephemera into art works that offer a means of exploring the inherent contradictions in our collective cultural life, as well as the individual and collective unconscious and subconscious. As an artist, she was interested in the areas of our cultural collective experience that are concerned with devalued or irrational experiences: the subconscious, the supernatural, the surreal, the mystical and the paranormal. She engaged with such experiences and phenomena which defy logical or rational explanation through the rational scientific techniques of taxonomy, collection, organization, description and comparison. She did not, however, apply systems of judgment to the work, refraining from ever categorising the experiences as 'true' or 'false', 'fact' or 'fiction'. Hiller described her practice as 'paraconceptual' a neologism that places her work between the conceptual and the paranormal. Many of her works explore the liminality of certain phenomena including the practice of automatic writing (Sisters of Menon, 1972/79; Homage to Gertrude Stein, 2010), near death experiences (Clinic, 2004) and collective experiences of unconscious, subconscious and paranormal activity (Dream Mapping, 1974; Belshazzar's Feast, 1983–4; Dream Screens, 1996; PSI Girls, 1999; Witness, 2000). Borrowing strategies from Minimalism to apply a "rational" framework to these products of the unconscious, the artist mounted the work Sisters of Menon in four L-shaped frames that, when installed on the wall together with four individually framed pages