Gregg shifted her career toward art in the 1980s, by mid-decade limiting her writing to occasional pieces for
ARTnews. In New York City, she studied at the
School of Visual Arts,
National Academy of Fine Arts and
New York Academy of Art. Later solo shows were held at Luise Ross Gallery (2007–16, New York), the Beach Museum of Art (2010, Kansas), Five Points Galley (2015, Connecticut) and Loft Nota Bene (2018, Spain). In the latter 1990s she began working in encaustic, an age-old, process-oriented painting technique in which hot wax is impregnated with pigment. Among other qualities, reviewers also note perceptual effects deriving from the paintings' deep surfaces and thickly painted sides, which flirt with illusionism and realism and shift in status between image and object. Alongside her landscape-influenced patterns, Gregg also introduced rhythmic, meditative stripes and grids that referenced Islamic tiles, using local color (e.g.,
Marrakesh and
Fez, 2000). In the "Album" series (2008–10), Gregg channeled her own familial loss into drawings that explored abstraction and the power of visual autobiography by repurposing anonymous family photo albums and scrapbooks found at flea markets and junk shops.
ARTnews critic Doug McClemont wrote that the austere black, gray or brown grids "were as entrancing as they were melancholic—devoid of actual human presence, yet saturated with mystery" and capable of "excavating universal emotions—the pain of loss, the frustration of gaps in memory—from the layers of history of unseen individuals." Gregg returned to the themes of consumerism and excess in two projects presented in her exhibition, "Fool's Gold" (2015). Her "Gilded Gyre Fragment" series (2015) consisted of constructivist cardboard packing forms that she gilded with metal leaf, creating mysterious, precious three-dimensional objects (i.e., "fool's gold") out of refuse. In a photocollage series, she culled and combined luxury magazine images, enhancing their over-the-top qualities, before mounting the final prints behind shiny acrylic to restore their original glossiness. In other and subsequent collage series, Gregg has created visual puns and surreal narratives—some with an ecological theme—by coupling vintage postcards and supermarket flyer material, abandoned library cards and photos, or tableaux of 1950s family life from magazines and other ephemera of the period. ==Art collections and recognition==