as a visual artist, tamblyn worked in performance and new media and was in the forefront of those experimenting with video and computer technologies for the creation of conceptual art. indeed, along with artists such as timothy binkley, tamblyn argued that the emergence of computer art represented the apogee of the 20th century's conceptual art movement. many of tamblyn's works were autobiographically inflected, including the cd-rom projects "she loves it, she loves it not: women and technology" (1993), "mistaken identities" (1995)—both of which have been shown widely—and the posthumous "archival quality" (1998). by including personal materials such as childhood journals, tamblyn underlined the fact that interactive media do not provide a space of absolute freedom for the viewer but instead offer a structure that complexly links viewer to artist. tamblyn's work was exhibited during her lifetime at the institute of contemporary arts (london), pacific film archives (california), san francisco exploratorium, wexner center for contemporary art (ohio); walter phillips gallery in the banff centre (canada), and numerous other international venues.