Adia Millet makes installations that challenge viewers’ assumptions about their homes, fears, desires, and politics. She achieves this by recreating bizarre, sometimes disturbing, home interiors. For instance, her well-known “pre-fabricated innocence” (2004-10) series caters to our penchant for voyeurism, inviting viewers to peer into eight miniature, seemingly abandoned houses. The slightly nonsensical décor—a wrapped poinsettia presumably intended as a gift, a dining room table with a single chair, an elegant chandelier juxtaposed with a handgun—reflects cultural and societal deficiencies. “I attempt to promote a space where site specificity, found objects, craft, concept, and form create a dialogue for characters to develop and for memories to resurface,” she says.