Dr. Megan Morrissey recently published an article entitled, "Border Matters: A New Materialist Critique of Installation Art on the U.S. -Mexico Border" in the Journal of International and Intercultural Communication. The essay analyzes two large installation art projects by French Artist JR that were installed along the U.S.-Mexico border in 2017 (Kikito and the Giant Picnic). As Morrissey explains, Kikito and the Giant Picnic momentarily punctuated the 2,000-mile material boundary that demarcates national legacies of conquest, violence, and exclusion, but in their brief existence, challenged those who encountered them to (re)consider the border's function and their relationship to it. Specifically, Morrissey uses these installations to argue that the U.S.-Mexico border is in a constant state of being remade through the emerging, ongoing, and dynamic relationships between people, language and physical space, a claim that pushes rhetorical scholars to reconsider the ways knowledge about the border is produced and circulated

Dr. Morrissey also has a chapter titled, "Calaveras, Calacas and Cultural Production: The Queer Politics of Brown Belonging at U.S. Día de Los Muertos Celebrations" forthcoming in an edited collection. This chapter was an invited contribution for the book titled "Queer Intercultural Communication: The Intersectional Politics of Belonging in and Across Differences" edited by Dr. Shinsuke Eguchi and Dr. Bernadette Calafell. In this chapter, Morrissey explores four of the largest U.S. Día de Los Muertos celebrations, focusing on the way the ofrenda (altar) is symbolically constituted in these spaces. Beginning with the knowledge that the people crossing the nation's southern border are regularly characterized as racially other, sexually deviant, and socially dangerous, she argues that the ofrenda queers these understanding of Brown Latinx people in the United States, making it a productive site for adjusting the conditions of U.S.belonging and inclusion.