Illith Rosenblum: The Writing on the Wall surveys xerox collages, paintings on paper, and an artist book from the 1980s and 90s. Rosenblum reframes mass media imagery and text — akin to Pictures Generation peers like Barbara Kruger and Sarah Charlesworth — to expose institutional language as a tool of containment. Postcards made at the New York Feminist Art Institute, wheat-pasted political posters, and the Gulf War 1991 series trace a practice rooted equally in outward dissent and internal liberation, threaded throughout with love, camaraderie, and courage.