With black shoulder-length hair down and immaculate pin-stripe suit, Glynn Cartledge strode into the cavernous waiting room of a maximum-security prison. It was in the remote desert area of Ely, Nevada and she was meeting a new client. The “cop-killer.” Edward. A 6’ 2” comely, Death Row inmate, he stood anxiously at attention beside one of the front cafeteria tables, anticipating her arrival. After pulling away from this stranger’s needy hug, she noticed his inscrutable blue eyes beaming through a flat affect. There he was. Glynn’s innocent charge. The man she would represent for over twenty years. Edward and three others faced the death penalty for the murder of a policeman. On the advice of trial counsel and without a plea agreement, Edward pleaded guilty to capital murder. Then, at his only hearing, his lawyer proceeded to tell the court that Edward was “a Judas Goat…who lured the victim, James Hoff to the scene of his death…[T]hese other boys were influenced and coerced and under the dominion and control of my client, [Edward]…” who “was yelling for his friends to stab Jim Hoff.” An artist who spent twenty-five years working as a criminal lawyer, Glynn Cartledge is concerned with issues of criminal justice. Glynn primarily focuses on the formerly incarcerated, a marginalized population that suffers isolation, continued punishment, and government-imposed impediments to successful reentry. Her work explores through interactive art the relationship that society has with those of us who have committed crimes and to the process of re-criminalization.