[1] Concentrating primarily on video and installation since 1973, she has produced numerous multiple- and single-channel pieces that have had a significant impact on the medium.

[6] Her movement into video in the early 1970s connected to her interest in the manipulation of the image as well as her fascination with the illuminated television box and its architectural space.

[7] She also performed a piece Fire Writing in 1975 at The Kitchen where she used laser beams to burn text onto the Vidicon tube of her hand-held camera, which can be seen in the resulting video image.

[8] In the 1980s, Lucier moved into greater aesthetic and sculptural concerns with her work, reflecting a clear shift in video art sensibilities of the time period.

[11] In the 1990s, Lucier would investigate the more devastating aspects of the earth’s landscapes by comparing the ecological precarity of the Brazilian Amazon and Alaskan wildlife with the cancerous human body in Noah’s Raven (1993)[12] and examining the tragedy of flooding through recollections and ruined interiors in Floodsongs (1998).