Tired from the pioneering years of her work neither being readily accepted as a new development in orthodox "photography" nor a variant form of "appropriation art," Grove has increasingly heeded Duchamp’s admonition that the avant-garde artist’s only true recourse was to "go underground." It has been intimated that she has been pursuing certain significant projects that, again like Duchamp, may only come to light with her passing. In recent years she has agreed to show only when her work had been carefully researched and sought out, as in the case of Mia Fineman’s Faking It: Manipulated Photography Before PhotoShop 2012 exhibition and book produced for the Metropolitan Museum of Art and National Gallery of Art. Likewise, she has been very selective in accepting public teaching or lecture invitations. Her work has been discussed in select journals, such as Lawrence Weschler’s Omnivore, or in art history or theory courses taught by photo or feminist scholars such as Anna Chave, of the CUNY Graduate Center and Joanna Isaak of Fordham University.
