One notable exhibition from these years was Glasnost/Perestroika (1990) shown in different configurations in London, Los Angeles and Melbourne, which was executed in 1989 during the shooting of The Russia House in Moscow, the first American production granted permission to film in the Soviet Union.

[1] With access to many leading figures in Russian film circles, including Raisa Fomina, Masha Chugunova (assistant to Andrei Tarkovsky), the producer Leonid Vereschagin and the famed director Elem Klimov, the artist employed painting and collage—clipping reports in the morning newspaper and gathering ephemera from her daily travels in Moscow—to chronicle the rapidly changing cultural landscape under Mikhail Gorbachev's policy of perestroika.

Schepisi's most recent body of work, Beauty Interrupted (2011) involves photographs of models in New York, Paris and Milan fashion shows similarly over-painted with contemporary and topical imagery including burkhas and burkinis (Islam-approved swimwear).

[2] Her more personal work is both intimate and confronting, delving into issues of domestic violence, mental illness and sexual assault, in some cases combining text with portraiture.

[4] A current work-in-progress entails a body of needlepoint revealing an exchange of imagined love letters sent between her Polish grandmother and the fictive Leipzig artist Johann Dieter Wassmann (1841–1898).