The American artist, writer, and educator Judith Barry is known for her audiovisual installations and her critical essays. Living in San Francisco in the mid-1970s, she lived in a loft building that she shared with the performance-video pioneers Terry Fox and Howard Fried. She developed a singular practice, which paralleled that of nearby feminist-activist artists including Lynn Hershman and Suzanne Lacy. The three consistently have used media and performance to examine issues around notions of identity, beauty, and aging. Throughout a long and productive career, Barry has utilized a research–based methodology to explore a wide range of topics in her art. Both the form and the content of her work evolve as the research proceeds. She often makes use of installation as a way to combine many of her disparate interests. These immersive environments are based on experiments incorporating architecture, sculpture, performance, theatre, film/video/new media, graphics, and interactivity. Each of her projects aims to provide new ways for engaging conceptually and visually within a space. Inspired by  architecture, literary and film theory, and dance, Barry has translated these disciplines directly into specific physical relations that place the viewer in a dialogue with the content of her research. She constructs a variety of ‘subject positions’ for the viewer to inhabit that function like point-of-view perspectives and allow the viewer to both cohere the meaning of the work by inhabiting the space of the installation, and simultaneously to ascribe a multiplicity of meanings to the experience.