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Hieroglyphs, again in collaboration with Warren Platner, a great wall was realized for the Rochester Institute of Technology (p.  ).

The walls by Sheila Hicks are, in a sense, a complete contrast to her individual works, yet there are solid links between these expressions and her single hangings. Her walls are made to cover existing walls, or are walls in themselves, they are composed of  single elements multiplied, components [[strikethrough]] which [[/strikethrough]] that are repeated and assembled. They are commissioned for specific places and are essential to the architectural spaces they occupy.

At one time [[strikethrough]] Sheila [[/strikethrough]] Hicks wanted to work only within architectural spaces, but her devotion to further exploration of thread potential left her impatient and eager to delve back into her weaving medium.

During a walk in the Luxembourg Gardens in Paris [[strikethrough]] Sheila [[/strikethrough]] she was struck by the magic of a single brick transformed through structural multiplication into a wall. Her fertile mind [[strikethrough]] was [[/strikethrough]] saw the equivalence of the simple brick to the single pliable thread. Structure began to take form, to be manipulated. and to be composed. For [[strikethrough]] Sheila [[/strikethrough]] Hicks, an idea [[strikethrough]] which [[/strikethrough]] that has its own logic together with her inner vision may start with just such a single element. Her realization of this vision began to take form with two different kinds of elements; [[strikethrough]] the evolving tapestry [[/strikethrough]] Banisteriopsis (p.  ), linen and silk, wrapped and stitched, comprising over [[strikethrough]] three-thousand [[/strikethrough]] 3,000 similar elements which she describes as pony tails. Her Principal Wife (p.  ) began as single, unrelated elements, silky, sensuous pieces made by wrapping massed warps. These single elements became more controlled and disciplined, as can be seen in [[strikethrough]] Cristobal's [[/strikethrough]] Trapeze de Cristobal (p.  ) shown in the 1969 Lausanne Biennale. They are the same architectonic components evident in the great wall for the Banque de Rothschild, Paris (p.  ). 

In contrast with this experience, in 1968 [[strikethrough]] Sheila [[/strikethrough]] The artist participated in setting up

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