[12] Among her earliest works was Total Institution (1984), a multimedia assemblage sculpture created with a phone receiver, toilet seat, rubber chicken, and other objects hanging from a rack on a wall.

[16] Works in the exhibition were made with medical equipment like IV bags and walkers and industrial materials like rubber mats and jumper cables,[2] along with a silk screen depiction of a pistol.

[17] Noland exhibited solo at Colin de Land's American Fine Arts Co. gallery in April 1989, presenting multiple works focusing on the assassination of Abraham Lincoln.

[20] She silk screened historical images of Lincoln's boots, the suit he was wearing when he was shot, and the bloody cot he died on,[21] along with snippets of text from a minute-by-minute news report of the assassination, onto metal panels that she leaned against the wall.

[22] She also exhibited several found object installations, including Our American Cousin, a pen-like metal enclosure in the center of the gallery filled with empty beer cans, stacked walkers, handcuffs, a barbecue grill, license plates, and hamburger buns.

[22][27] Reviewing the exhibition for Arts Magazine, critic Gretchen Faust called Our American Cousin the "centerpiece" of the show, adding that the piece "capture[s] the flavor, really the essence, of a Chevy truck commercial.

[2] One of Noland's best-known works, the piece is a room-sized installation composed of over 1000 six-packs of Budweiser beer stacked behind metal scaffolding with American flags, handcuffs, and other detritus scattered around the room.

"[34] Noland then mounted a solo show at Galleria Massimo De Carlo in Milan, in December 1989, where she almost completely filled the gallery with objects strewn across the floor and installed on the walls[35] - including beer cans, walkers, bungee cords, metal clips, a flipper and snorkel, a revolver, flags, potato chips, and a gas mask.

[36] The largest work in the show, Deep Social Space,[35] consisted of beer cans, an American flag, saddles and horse blankets, a barbecue grill, a rural USPS mailbox, a crutch, dish towels and an apron, hamburger buns, and containers of motor oil and Quaker oats, among other objects, all stacked and arranged among and between two parallel sets of metal bars and barriers.

[38] The essay was accompanied by illustrations of works by artists including Sherrie Levine, Barbara Kruger, Nagy, and Parrino, along with stock photographs of car crashes and other transportation accidents.

[37] Critic Peter Schjeldahl, reviewing the exhibition for Mirabella, said that the "effect of the ensemble is drastically melancholic; a cumulative charge of forlorn facts that affect a viewer like personal memories of childhood unhappiness.

[2] Works in the exhibition included a large wooden log cabin facade, a large staircase leading to a wall, an antique western chuckwagon, cut-out images of cowboys, silk screened metal panels with images of Mary Todd Lincoln and texts about the history of Colt guns, along with found objects on the floor of the gallery including raw lumber, a trash-filled dustpan, empty beer cans, rubber chickens, animal hides, and flags.

[44] One room of the exhibition included works Noland created in collaboration with graphic designers, comprising commercial-seeming slogans and imagery for imagined products or companies with tag-lines like "Loans My Ass," displayed along with a barroom door, a bubble-wrapped car bumper, tools, and a cow's skull.

"[46] Reviewing the exhibition for the Los Angeles Times, critic Kristine McKenna said Noland's show was "a wild ride through the junked landscape of America," and that it "suggests that our collective mind is like a hamster cage, padded with a thick, comforting layer of trash.

[52] Critic Christopher Knight, writing in the Los Angeles Times, called the latter work one of the "most affecting pieces" in the exhibition, describing it as "suggesting the morning-after clean-up following a particularly unspeakable party.

"[53] Similarly, critic Ken Johnson, grouping Noland with Kiki Smith and Jim Shaw as artists whose "genuinely compelling qualities" should not be overlooked amidst the "prevalence of juvenile tendencies on the top floor," said that she "hits some deep notes" in a "sociological way.

[38] She presented a three-dimensional version of her essay "Towards a Metalanguage of Evil," featuring passages of the text silk screened onto boards placed haphazardly on the ground and leaning against walls in an underground parking garage.

[78] She exhibited several silk screened works on metal leaning against the walls of the gallery,[78] including images of Eagleton, Ford, Foster, Holm, Mills, and Mitchell, along with: Squeaky Fromme, a member of the Manson Family who attempted to assassinate President Gerald Ford; Jacqueline Kennedy Onassis, President Kennedy's widow, pictured with the fashion designer Valentino, whose face had been etched away by Noland; and actor Burt Reynolds.

The work, Not Titled Yet, comprised a piece of cardboard with holes cut similar to her stocks sculptures, covered with a lacquer sander sealant and aluminum enamel spray paint.

[108] Noland, who believes she should have been consulted about this, felt the extensively restored piece was essentially recreated, and was therefore an unauthorized copy of the original, violating her copyright protections as outlined in the Visual Artists Rights Act (VARA).

[107] After Noland filed her own lawsuit claiming damages under VARA, she became involved in increasingly complicated legal battles over the restoration of Log Cabin and the application of copyright law to the materials used in her sculpture, German vs.

[117] Two permanent installations in the museum by Beuys and Oldenburg were sealed off with a wall to prevent viewing; Pfeffer called this decision "practical" as the works are immovable and did not fit in the theme of the show, but critic Leah Pires interpreted the gesture as "a delicious power play, especially coming from two women.

[d] Noland also agreed to participate in a group exhibition in October 2019, curated by artist Paul Pfeiffer for Bortolami gallery, staged in an empty bank at Washington's Watergate complex.

[141][142] Additionally, Noland installed several new objects around her most recent work, including industrial plastic pallets, a cast aluminum box branded with a Pinkerton logo, and a metal platform with a barcode identifying it as belonging to an Amazon warehouse.

[175] Critics and art historians have written that Noland's work also deals with themes of physical and mental restriction, often using metal, fencing, and barriers to create feelings of combining or decoupling as well as danger.

[188] Violence, both interpersonal and accidental, has been identified as another key theme in Noland's work;[k] she has often used images of murder, violent accidents, and weaponry, and has incorporated a wide array of physical weapons into her sculptures and installations, including billy clubs, grenades, guns, and bullets.

"[205] Similarly, curator Francesco Bonami wrote that "the flat form" of her cut-out works "alludes to the undercurrent of violence concealed within one-dimensional, stereotypical images of America and its myths.

[n] Several critics have suggested that Noland's legal disputes surrounding the sale, restoration, and treatment of various works, along with her nearly two-decade long self-imposed distance from the traditional gallery ecosystem, were themselves a form of artistic statement and communication.

[224][225] Noland's legal disputes surrounding the handling of her work have also been extensively discussed by critics and academics in the contexts of art authentication,[226][227] the limits of copyrightability in the United States,[228][229] and the scope of artists' moral rights under U.S.

"[235] Critics have cited a wide range of artists as working in Noland's stylistic legacy, including Jesse Darling, Diamond Stingily, Cameron Rowland, Andra Ursuța,[2] Kelley Walker, Nate Lowman, Banks Violette,[236] Rachel Harrison,[237] Josephine Meckseper,[238] Steven Shearer,[239] Anna Sew Hoy,[240] Liz Larner,[241] Jon Kessler,[242] Sam Durant, Matt Keegan, Helen Marten, Bozidar Brazda,[243] and the collaborative work of Joe Bradley and Eunice Kim.