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This thesis serves to analyze how autobiographical memory is deployed in the current series of the Montreal artist, Susan Shulman. Her cycle of nine works entitled In Our Memories Forever (1998--2001) are created based on the archive of photographs and letters written between her maternal grandparents at the turn of the nineteenth century. This essay will discuss cognitive theories on memory and specifically autobiographical memory types in order to examine the construction of memory in Shulman's series of paintings. A thorough investigation of the works themselves will be included. This examination will culminate with a look into how reconstruction theories of memory allow for the conflation of first and second hand experiences in the work. Issues of authenticity and collective remembering will also be addressed.