of her own commentary, make a cruciform. Hiller also published Sisters of Menon as an artist's book. She insisted on blurring the boundaries between cultural definitions of "rational" and "irrational", at the same time reinstating the validity of the unconscious as a source of knowledge or truth. After the mid-1970s, Hiller continued her engagement with minimalism. For the artwork entitled 10 Months (1977–79), she took photographs of her pregnant body and kept a journal documenting the subjective aspects of her pregnancy. The final work comprises ten gridded blocks of twenty-eight black and white photographs, each block corresponding to a lunar month. The images are accompanied by excerpts from her journal entries for the same period. These components are installed on the wall in a stepped pattern that descends from left to right. Lisa Tickner observed, The sentimentality associated with images of pregnancy is set tartly on edge by the scrutiny of the woman/artist who is acted upon, but who also acts: who enjoys a precarious status as both the subject and the object of her work ... The echoes of landscape, the allusions to ripeness and fulfilment, are refused by the anxieties of the text, and by the methodical process of representation. The work was considered controversial when first exhibited in London. Beginning in the 1980s, Hiller incorporated the use of audio and visual technology as a means of investigating these phenomena, allowing the visitor to 'make visions from ambiguous aural and visual cues'. In describing Hiller's work, art historian Alexandra Kokoli notes that Hiller's work unearths the repressed permeability ... of ... unstable yet prized constructs, such as rationality and consciousness, aesthetic value and artistic canons. Hiller refers to this precarious positioning of her oeuvre as 'paraconceptual,' just sideways of conceptualism and neighbouring the paranormal, a devalued site of culture where women and the feminine have been conversely privileged. In the hybrid field of 'paraconceptualism,' neither conceptualism nor the paranormal are left intact ... as ... the prefix 'para'- symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries. She died in London on January 28, 2019, from pancreatic cancer at the age of 78. Collections Hiller's works are included in numerous international public and private collections including the Tate Gallery, London; Museum of Modern Art, New York; Centre Pompidou, Paris; National Portrait Gallery, London; National Gallery of Art, Washington, D.C.;