[7] She uses techniques of painting, performance, sculpture, publishing, geometrics, abstraction, video/audio, and textiles to explore questions of body and identity politics and interrupt and criticize the gender binaries.

[6] For instance, for her exhibition Raw/Cooked at the Brooklyn Museum in 2012, Müller invited a range of feminist and queer artists, including Nicole Eisenman, A.L.

[8] Müller’s art typically uses abstraction to play with representation with the intention of combine social and individual experiences as well as to blur the connection between the artist and the viewer.

[9] Müller strives for radical feminism, placing her work outside the usual scope of abstract and geometric painting, creating links between form, social context, and identity.

[10] Herstory Inventory an exhibition in the Brooklyn Museum's series Raw/Cookedwas meant to revise and respond to the feminist work The Dinner Party by Judy Chicago in 1974–79.

[11] Müller transformed this idea, involving feminist and queer artists to take quotations from T-Shirts from the Lesbian Herstory Archives and create 2D objects.

For example, there is one piece made of enamel - a typically industrial material - that acts as a mirror to the viewer, convincing them to question such ideas about the medium.

[6] The artistic public values Müller's revisiting of modernist abstraction and how she transforms it, forcing it to represent themes of the outside world such as the gendered body.