Feinstein's multi-part installations, which contain autonomous sculptures and paintings, reveal her singular flair for synthesizing a myriad of cultural fascinations—religion, myth, beauty, mortality, decadence—into vignettes of the marvelous.

Oil paintings on mirrored surfaces, flat propped sculptures reminiscent of stage dressings, and abstracted reworkings of classical sculpture confront persistent issues of artistic representation such as theatricality and illusionism. By layering quotations from diverse artistic, architectural, cultural, and stylistic sources—from religious iconography to Baroque sculpture, Romantic landscapes, and popular cartoons—art and history are charged with a burlesque sensibility.

In this latest of her compelling fantasies, Feinstein has covered the interior gallery walls with a panoramic wallpaper of an impressionistic Rome. Sourcing and collaging diverse artistic visions of the city from different historical periods, she first made a large oil painting on mirror depicting this heterotopia of her own invention, where an eighteenth century piazza scene buzzing with life jostles against ancient ruins and an Arcadian landscape. This was then printed on mirrored wallpaper, to which five diamond-shaped glass mirrors, painted with faces, are fixed, merging cunningly with the background panorama while catching and reflecting the passing viewer's gaze.