Feminism in art is not a style. It is a struggle over bodies, visibility, authorship, institutions and power.
This section brings together essays, interviews and critical readings on feminist art, from historical breakthroughs to contemporary practices that challenge how women, queer bodies and marginalized voices are seen, exhibited and remembered.
Start here: Feminism in Art Isn’t a Style: It’s a Battle Over Visibility.
Photo still of RAPE TAPE III of Déborah de Robertis. Courtesy the artist More than a decade after Miroir de l’Origine turned her body into an instantly recognisable image, Deborah de Robertis speaks
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Gloria Steinem - Time Cover Gloria Steinem has died at 92. Her legacy reaches from journalism and reproductive rights to Womanhouse and feminist art. But visibility is not enough: what did the icon actually change, and what remains unfinished?
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Elham Etemadi - Observer Elham Etemadi’s paintings transform memory, Persian storytelling and female experience into an imaginative freedom that resists political and cultural simplification.
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Behjat Sadr - Untitled, 1974 - Oil on canvas, 87 × 170 cm. Centre Pompidou, Musée national d’art moderne, Paris Behjat Sadr’s black surfaces resemble oil, water, bark and machinery without becoming any of them. This essay reads her abstraction, kinetic blinds and later collages through feminism, Iranian petromodernity and the politics of controlled visibility.
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Lynda Benglis in her advertisement (November 1974) From Michelangelo’s Fig Leaf to Instagram: How We Automated the Censorship of the Body We did not abolish the fig
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Frida Kahlo photographed by her father, Guillermo Kahlo. The Gelman Collection, a disputed export permit and the growing distance between private ownership and cultural memory The Gelman Collection,
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Dildos series - Artist credits From Womanhouse to the Guerrilla Girls, Christina Schlesinger reflects on lesbian visibility, public art, feminism, and the lifelong process of becoming herself.
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Mariuccia Secol at the Venice Biennale, 1978. Courtesy of Artribune. At ninety-seven, Mariuccia Secol looks back on feminist art, psychiatric workshops, Gruppo Immagine, motherhood and the 1978 Venice Biennale.
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Cecilia Vicuña with El glaciar ido (2026) at Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Turin. Photo: Alberto Nidola. A conversation with Marcella Beccaria on Cecilia Vicuña’s first solo museum exhibition in Italy. In the Manica Lunga, El glaciar
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Xiao Lu, Dialogue, 1989. Installation and performance documentation, China Avant-Garde exhibition, Beijing. Courtesy of Xiao Lu Studio. Asia: censorship, labor, modernity, diaspora Feminist art in Asia does not simply seek visibility. In many contexts, it has to
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