Minerva Teichert's life narrative weaves together elements of a pioneer mother, the leadership of a Relief Society president, the sharpshooting prowess of Annie Oakley, the insights of a theologian, the depth of a historian, the critique of a social commentator, the activism of a civic advocate, the thirst for knowledge of a student, and the empowerment of true equality. Consequently, it's no challenge to comprehend why she has risen to almost iconic status as a figure, a woman, and an exemplar among the early Mormon pioneers of Wyoming.

The artistic legacy of Minerva Teichert over the past century has increasingly become familiar to her Latter-day Saint audience through Church literature, showcases at the Museum of Church History and Art, exhibitions at the BYU Museum of Art, cinematic presentations, and a series of published volumes.

Marian Wardle, the curator of a BYU exhibition (as well as Teichert's granddaughter), presented a conceptual framework during a 2007–2008 exhibit, enhancing our capacity to perceive and interpret Minerva Teichert's artwork. This framework, akin to her art, blends formal aesthetics with didactic communication.

Each of these elements is meticulously elucidated through visual depictions and explanatory text. The Minerva Teichert exhibition facilitated the comprehension of the philosophical and aesthetic interplay between a Teichert mural and, for instance, the Hill Cumorah Pageant. Her murals effectively crystallize moments of pageantry. The connection is truly intriguing.

Minerva Teichert murals find their home on walls, generally substantial ones. In reality, they are intended to merge seamlessly with the wall itself. Artists engineer this effect through two primary means: first, the murals often possess a shallow depth of field, akin to a procession on a stage or a precisely posed group; second, they frequently sidestep traditional frames, becoming an integral part of the wall. This is why Teichert frequently employs painted borders rather than conventional frames.

Typically, murals are expansive in scale, often designed for grand public spaces. However, Teichert employs mural techniques even in smaller paintings that wouldn't traditionally qualify as murals. So, what compelled her to cultivate this affinity for murals? As an observer of Teichert's oeuvre for more than three decades, I believe the answer lies in her fervor to convey and captivate. She used to remark, "When the story is narrated, the image is complete." Another phrase she favored was, "I paint so that those in haste can decipher." She ardently desired her art to promptly and unequivocally connect with the public. Even her visually striking painted borders assumed an interpretative and elucidative role. For instance, in one mural, she portrays Native American women preserving food, while the border depicts squirrels stockpiling nuts for the winter.

Why does Minerva Teichert art retain its relevance today? One of history's functions is to provide a vantage point on our own era. Presently, there exist compelling contemporary currents advocating for art to be private, cryptic rather than lucid, melancholic instead of celebratory. The broader public is often not viewed as a legitimate audience. Should artists opt to engage publicly, they are encouraged to function as societal critics rather than champions of established values and heritage. These paths are often portrayed as conduits to attain the status of "serious art." Teichert's art presents us with an alternative perspective on artistry. She also demonstrates that clarity, jubilation, and at times outright didacticism need not compromise the essence and importance of artistic quality.