Following this, her next project—a dramatization of Margaret Laurence's iconic 1974 novel "The Diviners" — did not get off the ground. In 1987 a retrospective of her work at the Art Gallery of Ontario presented a critical overview of both her visual art practice and her experimental films. Joyce Wieland was a central figure in Canadian art during the 1960s and 1970s. Though, she began her career as a painter, her work came to explore a wide range of materials and media, including film. The 1960s were an incredibly productive time for Wieland, as she responded to the contemporary artistic trends of Pop art and Conceptual art. Joanne Sloane maintains in "Joyce Wieland: Life & Work" that her encounters with these influences "were always original and idiosyncratic." Sloane identifies the several consistent bodies of Wieland's work that emerged throughout the 1960s as: "quasi-abstract paintings that reveal messages, signs, or erotic drawings; collages and sculptural assemblages; filmic paintings; disaster paintings; plastic film-assemblages; quilts and other fabric-based objects; and language-based works." Her art was often infused with humour, even as it engaged with issues of war, gender, ecology, and nationalism. Internationally, Wieland is best known as an experimental filmmaker whose work challenged and bridged boundaries among avant-garde film factions of her time. Her works introduced physical manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to cross over between those realms and to garner attention and support in both worlds. In the 1980s, Wieland focused again on painting, though her representations of natural environments became less identifiably Canadian. In 1956, Wieland married filmmaker Michael Snow, whom she had met through her job at the animation studio. They remained married for over twenty years until their divorce in 1976. In 1962, Wieland and Snow moved to New York where they lived until 1971. After she moved back to Toronto in 1971, Wieland maintained a studio practice there until her death on June 27, 1998 from Alzheimer's disease, aged 67. In 2014, the focus of artist Mark Clintberg's Fogo Island residency was a quilted response to Wieland's work "Reason Over Passion."