Joseph Beuys (German, ), Fat Chair, 1964 Felt Suit, 1970

Joseph Beuys: How to Explain Paintings to a Dead Hare, Performance on Nov. 26, 1965.

Joseph Beuys,The Pack, 1969 (2 installations) Staaliche Museen Kassel, Neue Galerie Volkswagen bus with twenty-four wooden sleds, each with felt, flashlight, and animal fat. “This is an emergency object: an invasion by the pack. In a state of emergency the Volkswagen bus is of limited usefulness, and more direct and primitive means must be taken to ensure survival.” (Beuys)

Joseph Beuys, Honey Pump at the Workplace for Documenta, 1977, electric motors pumped honey through a gigantic assemblage of pipes in the stairwell of the Museum, symbolizing the circulation of life and flowing energy.

Joseph Beuys, I love America and America Loves Me, performance,1972

(left) Joseph Beuys lecturing in New York, 1974 (right) Joseph Beuys, Action Piece, one of seven held at the Tate Gallery between 24 February - 23 March Objective is interactive performance of mental processes, not object making "Man is only truly alive when he realizes he is a creative, artistic being.“ Joseph Beuys

Beuys inaugurating 7000 Oaks at Documenta 7, Kassel, Germany, Project completed after artist’s death; the last tree was planted by his son at the opening of Documenta 8 in 1987 Beuys was a founding member of the Green Party

Beuys’ 7000 Oak project extended by the Dia Foundation in Trees (of several kinds) planted on West 22 nd Street, each paired with a basalt stone column NYC students planting trees: “Social Sculpture”

Ana Mendieta, Untitled (Body Tracks), 1975 Feminist Body Art

Carolee Schneeman, (left) Eye Body: 36 Transformative Actions 1963, paint, glue, fur, feathers, garden snakes, glass, plastic with the studio installation "Big Boards."

Carolee Schneeman, Meat Joy 1964 Judson Church, NYC. Group performance: raw fish, chickens, sausages, wet paint, plastic, rope, shredded scrap paper: (right) Interior Scroll, 1975

Yoko Ono (Japan, b. 1933) Cut Piece, performance, 1964 (Japan) and (right)1965 (NYC,Carnegie Hall)

Shigeko Kubota (American b. Japan, 1937) Vagina Painting, performance, July 4th, 1965, New York City, Perpetual Fluxus Festival (paint brush attached to crotch of underpants)

Valie Export, Austrian, Action Pants,1969 Current exhibition Current exhibition

Valie Export, Divided chairs, 1974/1992/2010. Vienna Exhibition views Belvedere, Vienna, Object, 3 chairs and neon

Cover of the Exhibition Catalogue Womanhouse (showing Judy Chicago and Miriam Schapiro). Design by Sheila de Bretteville. (Valencia: Feminist Art Program, California Institute of the Arts, 1972).

A survey conducted by the Tamarind Lithography Workshop (L.A.) revealed that from August 1970 to August 1971: “87.8% of the reviews in Artforum discussed men’s work, only 12.2% reported women’s work; 92% of Art in America’s reviews were devoted to men’s work, 8.0% to women’s work, while men took 95% of the lines allocated to writing on art and 93% of the reproductions. In 1971, U.S. Linda Nochlin published (in ArtNews) a watershed essay for art history: “Why Have Their Been No Great Women Artists?” A few years later, H. W. Janson, author of #1 survey textbook explained, “I have not been able to find a woman artist who clearly belongs in one volume history of art.”

Ana Mendieta (b Havana, 1948; d New York,1985), Untitled (Facial Hair Transplants), 1972 compare Frida Kahlo, Self-Portrait with Cropped Hair, 1946

Ana Mendieta, Untitled (Death of a Chicken), 1972 compare Hermann Nitsch, Viennese Actionism, First Action, 1962

Ana Mendieta, Untitled (People Looking at Blood), 1973 Carl Andre, Equivalent VIII, 1966

(Above) Ana Mendieta, Tree of Life, 1976) (left) Untitled (Blood & Feathers), 1974 "I am overwhelmed by the feeling of having been cast from the womb (nature). My art is the way I re-establish the bonds that unite me to the universe." - Mendieta

Mendieta, (left) Maroya (Moon), 1982 / (right) Untitled (Silueta Series, Iowa), 1979

Mendieta, Silueta, 1979

Hannah Wilke, Starification Object Series, 1975, chewing gum objects on artist’s body, done as performance with gum chewed by audience and as performative self-portraits with Les Wollan (male photographer) one of 35 black and white photographs in the Mastication Box, a game box with photographs, chewing gum sculptures, playing cards, instructions for play

Hannah Wilke, Starification Object Series, chewing gum collage,1975, 33x26,” Post- minimal, conceptual, erotic humor

Hannah Wilke, So Help Me Hannah: What Does This Represent / What Do You Represent, Performance photograph by Donald Goddard, husband François Boucher, Leda and the Swan, c. 1740, Oil on canvas

Hannah Wilke, February 19, 1992, #6 Intra-Venus Series, photographs taken in collaboration with the artist’s husband, Donald Goddard, documenting the deterioration of her body from fatal lymphoma

Judy Chicago (US. B. 1939), The Dinner Party, 1974 to 1979, collaborative mixed media (ceramic, porcelain, textile) installation depicting (life size) place settings for 39 famous women (mythical and historical). Brooklyn Museum, New York, USA.

Judy Chicago, The Dinner Party (Sojourner Truth place setting),1974–79, mixed media: ceramic, porcelain, textile. Brooklyn Museum

Mary Kelly (US b.1941), Postpartum Document, (left) A 1999 installation drawings, graphs and charts, objects and sound recordings. Post-Partum Document, Documentation IV: transitional objects, diary and diagram, (Post Minimal, Post Conceptual) Feminist

Marina Abramovic (b. 1946, Belgrade, Yugoslavia), “grandmother of performance art” (top left) photograph of Rhythm O, performance,1977. Compare Yoko Ono, Cut Piece, performance, (below) Abramovic, Art Must Be Beautiful, 1975, 4 video stills

Abramovic and Ulay (Uwe Laysiepen), (left) Rest Energy, video with audio of heart beats, 1980 (right) Imponderabilia, performance at museum entrance, 1978

Abramovic, Balkan Baroque, 1997, Venice Biennale, Golden Lion Award "I'm only interested in an art which can change the ideology of society...Art which is only committed to aesthetic values in incomplete...I don't defend anyone, neither the Serbs nor the Bosnians nor the Croats...I'm trying to deal with my own emotions, for example with this tremendous feeling of shame which I have about this war. As an artist, you can only deal with what there is inside you. I'm making this play because it is the only way to react emotionally to the war."

Marina Abramović: The Artist Is Present March 14–May 31, 2010 Museum of Modern Art, New York ( left) Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965, Dusseldorf (right) Marina Abramovic, How to Explain Pictures to a Dead Hare, 2005, Guggenheim Museum

Janine Antoni, Loving Care, 1993, Installation view at Anthony D'Offay Gallery, London. The artist soaked her hair in hair dye and mopped the floor with it. I mopped the floor with my hair…The reason I’m so interested in taking my body to those extreme places is that that’s a place where I learn, where I feel most in my body. I’m really interested in the repetition, the discipline, and what happens to me psychologically when I put my body to that extreme place.” — Janine Antoni

Janine Antoni, Gnaw, 1992, Three part installation. Chocolate: 600 lbs. of chocolate gnawed by the artist; lard: 600 lbs. of lard gnawed by the artist; display: 130 Lipsticks made with pigment, beeswax, and chewed lard removed from the lard cube; 27 Heart- shaped packages made from chewed chocolate removed from the chocolate cube. "With Gnaw I was thinking about traditional sculpture, about carving. I was also interested in figurative sculpture. I put those two ideas together and decided that rather than describing the body, I would use the body, my body, as a tool for making art.“ - Antoni

Janine Antoni, Gnaw, installation

Janine Antoni, Lick and Lather, 1993, 7 soap and 7 chocolate self-portrait busts, 24 x 16 x 13 inches each