With a degree in architecture from the University of Florida, 1972 -the discipline has left an important mark on the spatial conception of her work-, Judith Barry began her career in the seventies in performance, a sphere in which she often delved into themes such as voyeurism and the erotic gaze, as well as women's role as subject and object of such a vision, and in which her own body was the field of conceptual and visual experiment. The influence stamped on her work by feminist movements and theories in the seventies has become a constant in her career ever since. In the early eighties Barry entered the medium of video recording, which she was later to expand through audiovisual and multimedia installations. In the middle years of the decade, she began to take an interest in the new technologies that had sprung up around the computer, particularly computer generated graphics. Barry acknowledges her links with the last forms of conceptual art of the seventies, questioning to a large extent certain discourses such as minimalism, which she criticises because it only projects "vision" instead of providing "perception". Bodies -mainly women's- thus become instruments she uses to pose those questions, entering into a dialogue which the audience will find it difficult to elude. Barry's works have a strong theatrical presence, which often forces the spectator to make a gut response to not very pleasant images of the body and the way in which it is inserted into space. Barry's works have been and are on show in leading international galleries, exhibitions and museums.