1. Frida Kahlo. Self-Portrait with Cropped Hair, 1940 Georgia O'Keeffe, Jack-in-the- Pulpit No. IV, 1930

2. Catalogue Cover and Participants Catalogue cover and participants Womanhouse 1971

3. Kitchen

5. Kitchen breasts

7. Bride

8. Linen closet Linen Closet

9. Lipstick Bathroom

10. Menstruation bathroom Menstruation Bathroom

11. Nightmare Bathroom

12. Dollhouse

13. MS Paul Gauguin and Me 75; MS Mary Cassatt and Me 76 Miriam Schapiro, Collaboration: Mary Cassatt and Me 1976

14. MS She Sweeps with Many Colored Brooms 76; Connections 76 Miriam Schapiro, She Weeps with Many Colored Brooms, 1976

15. Lynda Benglis, advertisement in Artforum, 1974

16. Betty Grable; Lynda Benglis

17. Lynda Benglis, Arforum Nov 74

18. JC Dinner Party Judy Chicago Dinner Party 1973-79

19. Dinner Party Goddesses Goddesses

20. Dinner Party Wolfe & O’Keefe Virginia Woolf and Georgia O’Keefe

21. Dinner Party Fertile Goddess

24. Dinner Party Eleanor Aquitaine

26. Dinner Party Mary Wollstonecraft Mary Wollstonecraft

27. Dinner Party Emily Dickinson study

28. Dinner Party Virginia Woolf

30. Carolee Schneemann, Interior Scroll, 1975

32. Carolee Schneemann, 36 Transformative acts for camera, 1963

33. Interior Scroll 1975 Performance. Performed in East Hampton,NY and at the Telluride Film Festival, Colorado. Schneemann ritualistically stood naked on a table, painted her body with mud until she slowly exracted a paper scroll from her vagina while reading from it. "I thought of the vagina in many ways-- physically, conceptually: as a sculptural form, an architectural referent, the sources of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by it's passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual power. This source of interior knowledge would be symbolized as the primary index unifying spirit and flesh in Goddess worship." -CS

34. Carolee Schneemann, Judson Church, NYC. Group performance: raw fish, chickens, sausages, wet paint, plastic, rope, shredded scrap paper

35. Meat Joy has the character of an erotic rite: excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, rope brushes, paper scrap. It's propulsion is toward the ecstatic-- shifting and turning between tenderness, wilderness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent."

36. Hannah Wilke, SOS Starification Object Series, 1974

37. HW Teasal Cushion Hannah Wilke, SOS Starification Object Series, 1974

38. HW SOS

39. HW SOS performance

40. HW SOS installation

41. HW My Country Tis of Thee 76 Hannah Wilke, My Country tis of thee, 1975

42. HW Lincoln Memorial; Florida Keys

43. HW My Country Tis of Thee 76

44. HW Through Looking Glass Hannah Wilke, Through the Looking Glass

45. HW Iobject

46. HW Ponder-r-rose

47. AM Glass

48. AM Death of Chicken Ana Mendieta, Death of Chicken, 1972

49. AM Rape Performance 73; AM People Looking at Blood 73 Ana Mendieta, Rape Performance, 1973

50. AM Tree of Life Ana Mendieta, Tree of Life, 1973

51. AM Silueta 77 fire; AM Silhueta 78 pigment Ana Mendieta, Silueta, 1977

52. AM Silueta 78 clover; AM Silueta 79 mud