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Art in New York

Feminist Art

Guerrilla Girls, 1970.

Judy Chicago, The Dinner Party, 1973-79, mixed-media installation, 48‘ X 48‘ X 48‘.

Judy Chicago, The Dinner Party, 1973-79, mixed-media installation, detail, 48‘ X 48‘ X 48‘.

Lynda Benglis, Artforum project, 1974, photograph.

Lynda Benglis, Exhibition announcement, Paula Cooper Gallery.

Robert Morris, Invitation, Sonnabend, New York, 1974.

Faith Waiting, Waiting, 1972, A 15-minute monolog, scripted and performed by Faith Wilding in the Performance program at Womanhouse, "Waiting" condenses a woman's entire life into a monotonous, repetitive cycle of waiting for life to begin while she is serving and maintaining the lives of others.

Carolee Schneemann, Interior Scroll, 1975. Performance photograph.

Carolee Schneemann, Eye Body, 1963.

Shigeko Kubota, Vagina Painting, 1965.

Valie Export, Action Pants: Genital Panic, Augusta-Lichtspiele, Munich, 1969.

Valie Export, Tap and Touch Cinema, 1968, Vienna and Munich.

VALIE EXPORT walks Peter Weibel on a leash in the performance Aus der Mappe der Hundigkeit (From the Portfolio of Doggishness), Vienna, 1968.

Adrian Piper, Catalysis III, 1976.

Eleanor Antin, Carving, A Traditional Sculpture, 1972, 148 black and white photos document 37 days (four photos per day) of the artist's weight loss.

Mendieta, Untitled (from the Silueta series), 1976.

Ana Mendieta, Untitled (Silueta Series, Iowa), 1977.

Ana Mendieta, Untitled (from the Silueta series), 1978, photograph.

Ana Mendieta, Untitled #259, from the Silhouette Series, 1976.

Ana Mendieta, Fire Earthwork, 1975.

Ana Mendieta, Untitled #401, From the Silhouette Series, 1777.

Ana Mendieta, Untitled (Cosmetic Facial Variations), A and B, 1972.

Ana Mendieta, Untitled (Cosmetic Facial Variations), C and D, 1972.

Diamela Eltit, from Zone of Pain Series, 1980.

Tania Bruguera, The Burden of Guilt, 1997-99, decapitated lamb, rope, water, salt, cuban soil.

Tania Bruguera, Embodying as Niksi Nkonde icon, 1998-99.

Hannah Wilke, Chewing Gum, 1975, collage.

Hannah Wilke, Chewing Gum, 1975.

Hannah Wilke, S.O.S. Starification Object. Series, 1974.

Hannah Wilke, S.O.S. Starification Object Series, 1974.

Hannah Wilke topless with her photographic self-portraits with chewing gum stuck to her body at the Ron Feldman gallery. 1975.

Hannah Wilke, Intra-Venus, January 30, 1992.

Hannah Wilke, Intra-Venus, August 18, 1992.

Hannah Wilke, In Memory of My Feelings, 1963.

Martha Rosler, Cargo Cult (Beauty Knows No Pain, or Body Beautiful), 1965-74.

Martha Rosler, Playboy Nudes (Beauty Knows No Pain, or Body Beautiful), 1965-74, collage, detail.

Martha Rosler, Damp Meat (Beauty Knows No Pain, or Body Beautiful), 1965-74.

Martha Rosler, Cold Meat (Beauty Knows No Pain, or Body Beautiful), 1965-74.

Marta Rosler, Untitled / Kitchen 1 (Beauty Knows No Pain, or Body Beautiful), 1965-74.

Martha Rosler, A Special Place (Beauty Knows No Pain, or Body Beautiful), 1965-74.

Martha Rosler, Bringing the War Home, House Beautiful,1967-72.

Martha Rosler, Bringing the War Home, House Beautiful, 1967-72.

Martha Rosler, Bringing the War Home, House Beautiful,1967-72.

Martha Rosler, Bringing the War Home: House Beautiful, New Series, 2004.

Martha Rosler, Bringing the War Home: House Beautiful, New Series., 2004.

Martha Rosler, Cosmic Kitchen 1, 1970.

Martha Rosler, Semiotics of the Kitchen, 1975 6 mins. B&W video.

Martha Rosler, Semiotics of the Kitchen, 1975, 6 mins. B&W video.

Laurie Simmons, Purple Woman/Kitchen/Second View, 1978.

Laurie Simmons, Woman / Red Couch / Newspaper, 1978.

Laurie Simmons, Walking House, 1989.

Lorna Simpson, Untitled, 1992.

Lorna Simpson, Wigs, 1994.

Louise Lawler, Salon Hodler, 1992–93.

Louise Lawler, Pollock and Tureen, Arranged by Mr. and Mrs. Burton, Tremaine, Connecticut, 1984.

Louise Lawler, I-O, 1993-98.

Yayoi Kusama, Baby Carriage, 1964.

Mary Kelly.

Mary Kelly, Antepartum, 1973 film still.

Mary Kelly, "Post-Partum Document: Documentation VI," Pre-writing, Alphabet, Exergue and Diary (detail), 1978.

Mary Kelly, Post-Partum Document: Documentation VI, Pre-writing, Alphabet, Exergue and Diary (detail), 1978.

Mary Kelly, PPD IV: Transitional Objects, diary and diagram, 1976.

Louise Bourgeois.

Louise Bourgeois, Femme Maison (Woman-House), 1947.

Louise Bourgeois, The Lair, 1962.

Louise Bourgeois, Destruction of the Father, 1974 latex and stone.

Louise Bourgeois, Destruction of the Father, 1974 latex and stone, detail.

Louise Bourgeois, Untitled, 1998.

Louise Bourgeois, Cell, 2001.

Louise Bourgeois, The Cell (Choisy), 1990-93.

Louise Bourgeois, Seven in a Bed, 2001.

Louise Bourgeois, Soft Landscape I, 1967.

Louise Bourgeois, Fillette, 1966.

Louise Bourgeois, Untitled (Germinal), 1967-95.

Louise Bourgeois, Janus Fleuri, 1968.

Louise Bourgeois, Harmless Woman,1969.

Louise Bourgeois, Femme Couteau, 1982.

Alberto Giacometti, Point to the Eye, 1932.

Alberto Giacometti, Caress (Despite Hands), 1932.

Alberto Giacometti, Man and Woman, 1928.

Louise Bourgeois, Eyes, 1982.

Alberto Giacometti, Spoon Woman, 1926-27

Alberto Giacometti, Man (Apollo), 1929.

Louise Bourgeois, One and Others, 1955.

Once there was a girl and she loved a man. They had a date next to eight street station of the sixth avenue subway. She had put on her good clothes and a new hat. Somehow he could not come. So the purpose of this picture is to show how beautiful she was. I really mean that she was beautiful.

The solitary death of the Woolworth Building.

Once a man was waving to his friend from the elevator. He was laughing so much that he stuck his head out and the ceiling cut it off.

Once a man was angry at his wife, he cut her in small pieces, made stew of her. Then he telephoned to his friends and asked them for a cocktail-and-stew party. Then all came and had a good time.

Louise Bourgeois, Quarantania I, 1947-53 Houston TX.

Eva Hesse.

Eva Hesse, Studio on the Bowery, 1969.

Eva Hesse, Untitled (Rope Piece), 1970, rope hanging from ceiling.

Eva Hesse, Contingent, 1969, cheesecloth, latex and fiberglass, 11‘ 6“.

Eva Hesse, Untitled, 1970.

Eva Hesse, Ringaround Arosie, 1965.

Eva Hesse, Untitled or Not Yet, 1967.

Eva Hesse, Ingeminate, 1965.

Eva Hesse, Hang up, 1966.

Eva Hesse, Aught, 1968.

Eva Hesse, Accession II, 1967.

Eva Hesse, Sans II, 1968.

Eva Hesse, Expanded Expansion, 1969.

Eva Hesse, Contingent, 1969.

Eva Hesse, Right After, 1969.

Eva Hesse, Addendum, 1967.

Eva Hesse, Repetition Nineteen III, 1968.

Sol LeWitt, 49 Three-Part Variations on Three Different Kinds of Cubes, 1967-71.

Four installations of a preliminary version of Repetition Nineteen,

as photographed by Hesse in her studio.

Marina Abramovic- House with the Ocean View, Sean Kelly, 2002.

Marina Abramovic- Performance, 1975, Re-enacted 1997, Venice Biennial.