In 1962, Wieland moved to New York City and expanded her career as an artist by including new materials and mixed media work.

During that time, she also rose to prominence as an experimental filmmaker and soon, institutions such as the Museum of Modern Art in New York were showing her films.

[5] Wieland's father died from heart disease in 1937, and her mother followed soon after, leaving three children in financially difficult circumstances.

Wieland first enrolled in dress design and hoped it would help her land a job since she thought art would not be financially rewarding.

While working for these agencies, Wieland interacted with many artists and fellow alumni from Central Tech and the Ontario College of Art.

[14] Rat Life and Diet in North America is an example of how Wieland's concern with political issues, nationalism, symbols, and myths was represented aesthetically through her works.

[15] Wieland's self-identification as a feminist in an era of second wave of feminism also manifested itself through aesthetic means and played an important part in her career as an artist.

[19] Her works introduced physical manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images.

Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time.

[21] After she moved back to Toronto in 1971, Wieland maintained a studio practice there until her death on June 27, 1998, from Alzheimer's disease, aged 67.

[23] In 2014, the focus of artist Mark Clintberg's Fogo Island residency was a quilted response to Wieland's work Reason Over Passion.

[26] The original work, made in both English and French, was inspired by the motto of the then-Prime Minister Pierre Elliot Trudeau.

All of it seemed beyond reason to me.Clintberg's response, sewn in collaboration with the Wind and Waves Artisans' Guild, turns Wieland's work on its head, formally and literally as each piece of the quilt is stitched "wrong"-side up exposing its soft-coloured underbelly.