Marie-Jeanne Musiol’s photographic installations have been exhibited in solo shows at artist-run centres and public galleries in Canada and abroad since 1986. The Études for Le temple est ouvert were shown at the Galerie Aubes in Montréal and at Gallery 101 in Ottawa in 1988 ; Et soudain une présence , at the Canadian Cultural Centre in Rome in 1989 ; Seize trous dans la mémoire d’Hadrien,at La Centrale in Montréal and at Axe Néo-7 in Hull in 1991.The Canadian Museum of Contemporary Photography featured two series from Petites géographies oubliées in its inaugural exhibition Beau in 1992, and commissioned a large photo installation for the entrance of the museum in 1993. Du noir, une impulsion lumineuse, a series of portraits, was exhibited at the Saidye Bronfman Gallery in Montréal and at the Ottawa Art Gallery in 1993. Other venues since have included Galerie Vox (1995) and Galerie Yves LeRoux (1996) in Montréal, the Musée du Québec in Québec City and the Centre d’Art Santa Mònica in Barcelona (1996). In the Shadow of the Forest (Auschwitz-Birkenau), the most recent installation was shown at SAW Gallery in Ottawa (1998) and at Gallery 44 in Toronto (1999).
In conjunction with her exhibited work, Marie-Jeanne Musiol has produced limited edition books in which text and photographs intersect : Le trou noir de l’histoire (1989), Sept ouvertures (1991) and In the Shadow of the Forest (Auschwitz-Birkenau) (1998). Her travels to distant regions of the Andes, the African Sahara and the Himalayas transform archaeological itineraries into journeys of a more personal nature. Recently, she has been working in Auschwitz, probing what could be the nature of living memory through a series of photographs and a video titled Do Falling Leaves Go Unseen ? (1995).
Several of the articles Marie-Jeanne Musiol has written for art magazines and specialized publications have dealt with the interaction between the institution and the artist, and with necessity as part of the creative process : Le musée public expérimental (1988), Studios : travaux en cours (1989), Recomposer avec des lieux symboliques (1992). In 1988, she also published an essay, L’Autre oeil : le nu féminin dans l’art masculin, a critical history of the female nude in Western art. She has participated in numerous forums on photography and related questions.