[3] Lehr received a degree in art history from Vassar College in 1956,[4] where she studied under Adolf Katzenellenbogen, Wolfgang Lotz, and notable feminist historian Linda Nochlin.

[5] After college she did post-graduate work at the School of the Museum of Fine Arts, Boston and received a Rockefeller scholarship that supported a studio in Carnegie Hall.

[1] She described the lack of art scene and cultural vibrancy as being "like a desert island.”[1] She and a contingent of other female artists founded Continuum Gallery, which lasted into the 1990s.

[1] Many art world luminaries came to lead workshops, speak and interact with the members, including Betty Parsons, John Chamberlain and Buckminster Fuller.

[5] On closer inspection, they reveal a myriad of contrasts — natural imagery with abstract gesture, dense planes with translucent washes, and rich, abraded textures with a crisp, contemporary structure.

"[8] Lehr played with things intangible and impermanent- in her sculptures, for example, the shadows created on the wall are as much a part of the piece as the physical objects.

While the sculptures are seductively beautiful, they are partially made of politically charged materials, including jute hemp, whose purpose is to prevent land from eroding.

[11] Critic Courtney Powers Curtiss emphasized how Lehr's paintings have a spirituality associated with nature that is found in many Asian belief systems.

[5] Historian Eleanor Heartney's take: "The hanging moons, silhouetted bellflowers and expressive freestyle lines do evoke an Asian aesthetic.

Like those highly structured and deeply minimalist poems, in which a whole world is evoked with a few words or a simple metaphor, she is interested in creating a reality in which a few forms and lines speak volumes.

Mangrove sculptures from the exhibition were part of a special project at Pinta Miami, Ad-Astra, held at Mana Contemporary during Art Basel 2018.