The Feminist Art Project

Anonymous Was A Woman: The First 25 Years
2025-04-01 11:00 - 2025-07-19 17:00 (America/New_York) | Grey Art Museum, 18 Cooper Square, NYC, NY, 10003, United States
NYU’s Grey Art Museum Highlights 25 Years of Women’s Achievements in Contemporary Art
Anonymous Was A Woman: The First 25 Years
April 1–July 19, 2025
Exhibition celebrates landmark Anonymous Was A Woman artist grant, which has awarded over $8 million to nearly 300 mid-career women artists

Press Contact
Sofeia Eddy | sofeia.eddy@nyu.edu | 212-998-6782
[Download Press Release]
[Download List of Exhibiting Artists]
(NEW YORK, NY, January 13, 2025)—The Grey Art Museum at New York University presents Anonymous Was A Woman: The First 25 Years, an exhibition celebrating recipients of the titular grant for mid-career women artists living and working in the United States. On view from April 1 to July 19, 2025, at 18 Cooper Square, this ambitious exhibition invites reflection on a quarter century of artistic achievement tied to the Anonymous Was A Woman (AWAW) grant program, which, since 1996, has supported women artists over the age of 40 with unrestricted awards. Six years in the making, Anonymous Was A Woman is organized by the Grey Art Museum at NYU and guest curated by Nancy Princenthal and Vesela Sretenović.
Featuring some 50 artworks by 41 of the 251 award recipients from when the grant was inaugurated in 1996 through 2020, the exhibition showcases a range of media and subjects by artists including Jeanne Silverthorne (AWAW 1996), Laura Aguilar (AWAW 2000), Senga Nengudi (AWAW 2005), Mary Heilmann (AWAW 2006), An-My Lê (AWAW 2006), Carrie Mae Weems (AWAW 2007), Ida Applebroog (AWAW 2009), Jungjin Lee (2011), Janine Antoni (AWAW 2014), and Jennifer Wen Ma (AWAW 2019), among others. With each year represented by at least one artist, the exhibition includes works created within a few years of their grant, demonstrating the significance of the award to the artist’s growth. “Nancy and I sought to create a visually compelling and intellectually stimulating exhibition that balances work by well-established and lesser-known artists. We also wanted to highlight leaps in production that the grant made possible, both practically—many artists were enabled to try new materials and processes—and conceptually,” Sretenović says. All 251 artists are represented in a publication accompanying the exhibition, which also includes critical essays about the awardees by Princenthal, Sretenović, and other women scholars.
Visitors to Anonymous Was A Woman will encounter works that trace the development of contemporary art practice over the last twenty-five years, addressing issues of identity and community; the position of women artists in society; the shifting value of craft; the changing possibilities for installation and time-based media; as well as the many uses of anonymity. Flamethrower, for example, a painting by Carrie Moyer (AWAW 2009) demonstrates the artist’s characteristic high-gloss surfaces and curvaceous, colorful forms, and challenges gendered conventions of abstraction. Rona Pondick (AWAW 2016), also featured in the exhibition, has used her own body to create self-portraits in various materials—such as the colored molded resin of Magenta Swimming in Yellow—that are at once deeply personal and anonymizing. Likewise, Elizabeth King (AWAW 2014) often references her own body when creating precisely moveable, half-scale figurative sculptures and combining them with stop-motion animation, as in Feints and Sleights.
Princenthal explains, “Every single one of the artists who received a grant in our target period is remarkable, and it was an enormous challenge to choose among them. Vesela and I embraced the variety of thematic and formal approaches seen in the awardees’ work, as well as the full range of their regional, ethnic, and racial backgrounds, and the several generations they represent.” For example, Betye Saar’s (AWAW 2004) assemblage, Globe Trotter, depicts a worn vintage doll held captive inside of a small birdcage resting atop a globe—a combination of powerful symbols referencing the history of slavery. Claudia Joskowicz’s (AWAW 2020) Some Dead Don’t Make a Sound, like many of her video and installation works, evokes the transformative effect of violent political events on physical spaces and collective memory.
“I think what is astonishing for all of us,” states Lynn Gumpert, director of the Grey Art Museum since 1997, “is to look over this list of amazing artists and realize the impact they have made on the last twenty-five years of the art scene. As of 2019—when we were first conceiving the show—just 11% of all acquisitions and 14% of exhibitions at major American museums over the past decade were of work by female artists, according to the Burns Halperin Report. We know that there is still a lot of work to be done.”
Last year, Susan Unterberg and AWAW launched the Anonymous Was A Woman Artist Survey in collaboration with journalists Charlotte Burns and Julia Halperin, arts leader Loring Randolph, and SMU Data Arts. A first-of-its-kind study, the survey aims to gain a better understanding of women artists’ lives and careers, and the factors contributing to their successes and challenges. Findings will be made publicly available on April 9, 2025, as part of “Artists Speak: The Anonymous Was A Woman Symposium,” hosted at NYU. Registration will be available on the AWAW website.
About AWAW
Founded by visionary philanthropist and photographer Susan Unterberg, the Anonymous Was A Woman (AWAW) grant program has provided annual unrestricted gifts of $25,000 each to ten exceptional artists over the age of 40, enabling them to further push boundaries in their creative fields. In 2024 the number of awardees permanently increased to fifteen and the cash prize doubled to $50,000. “Since I am an artist, I knew firsthand that the needs of mid-career artists were generally overlooked,” says Unterberg, who herself remained anonymous until 2018.
The groundbreaking program, inspired by a line from Virginia Woolf’s essay, “A Room of One’s Own,” was established in response to the National Endowment for the Arts’s decision to end funding for individual artists. True to its name, AWAW selects artists via anonymous panels based on recommendations proposed each year by a group of anonymous nominators comprising previous awardees, curators, writers, and other art professionals. Unterberg says, “Women throughout history—and especially women artists—have often remained anonymous. They didn’t sign their work, and of course, they received very little recognition. AWAW has given me an immense amount of joy—and mostly since I’ve gone public. It’s a way to show my activism and advocate that women shouldn’t remain anonymous any longer.” Over the years, this grant has been transformative for many artists, offering critical financial support and awarding over $8 million to more than 300 recipients to date. In 2022 AWAW partnered with the New York Foundation for the Arts (NYFA) to initiate the Environmental Art Grant, a yearly open call for woman-led art projects that inspire thought, action, and ethical engagement with the environment.
For more information on Anonymous Was A Woman, please visit anonymouswasawoman.org.
Publication
Anonymous Was A Woman: The First 25 Years is accompanied by a 392-page volume of the same name, which will be released prior to the opening of the exhibition. Co-published by Hirmer Verlag and the Grey Art Museum at New York University, the publication commemorates all 251 recipients of the award from 1996 through 2020, offering a visual and critical account of their work and careers. Featuring new essays by Nancy Princenthal, Vesela Sretenović, Valerie Cassel Oliver, Alexandra Schwartz, Cecilia Fajardo-Hill, Jenni Sorkin, and Gaby Collins-Fernández, as well as a roundtable discussion with founder Susan Unterberg, the book also unveils previously untold histories, underscoring the lasting influence of these artists. “The book, unlike the exhibition, functions as kind of a mini-history, which is exciting,” shares Gumpert. Available soon at the Grey Art Museum Bookstore, $55 retail, and online.
Credits
Anonymous Was A Woman: The First 25 Years is organized by the Grey Art Museum, New York University, and curated by Nancy Princenthal and Vesela Sretenović. The exhibition is made possible in part by the generous support of the Grey’s Director’s Circle, Inter/National Council, and Friends; and the Abby Weed Grey Trust.
About the Curators
Nancy Princenthal is a Brooklyn-based writer whose book Agnes Martin: Her Life and Art (2015) received the 2016 PEN/Jacqueline Bograd Weld Award for Biography. She is also the author of Hannah Wilke (2010) and Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (2019), and co-author of Mothers of Invention: The Feminist Roots of Contemporary Art (2024). Princenthal has taught at Bard, Princeton, Yale, the School of Visual Arts, NYU’s Institute of Fine Arts, and elsewhere.
Vesela Sretenović is an art historian and curator of modern and contemporary art with a special interest in cross-disciplinary art practices and in bridging theoretical knowledge with hands-on experience. From 2009–23 she served as Director of Contemporary Art Initiatives and Academic Affairs at The Phillips Collection, Washington, DC. She is currently working as an independent curator and educator.
About the Grey Art Museum
After nearly a half-century on Washington Square, the Grey Art Gallery became the Grey Art Museum, New York University, in 2024. The Grey’s new facility occupies the ground floor of a brick and iron building in the NoHo Historic District, its open storefront façade facing out onto a busy pedestrian thoroughfare. The new location accommodates three galleries—expanding exhibition space by 40 percent—and, on the lower level, the Cottrell-Lovett Study Center, which will enable more direct access to the collection for students, faculty, and researchers.
Over the last five decades the institution has organized exhibitions that have encompassed all the visual arts: painting, sculpture, drawing and printmaking, photography, architecture and decorative arts, video, film, and performance. In addition to producing its own exhibitions, which often travel to other venues in the United States and abroad, the museum hosts traveling shows that might otherwise not be seen in New York and produces scholarly publications that are distributed worldwide. In 2025 the Grey Art Museum celebrates its 50th anniversary.
General Information
Grey Art Museum, New York University
18 Cooper Square, New York, NY 10003
(Mailing address: 20 Cooper Square, 2nd Floor, New York, NY 10003)
Tel: 212-998-6780, Fax: 212-995-4024
E-mail: greyartmuseum@nyu.edu Website: greyartmuseum.nyu.edu
Hours
Tuesday: 11 am–6 pm
Wednesday: 11 am–8 pm
Thursday: 11 am–6 pm
Friday: 11 am–6 pm
Saturday: 11 am–5 pm
Closed Sunday, Monday, and major holidays
Admission
Suggested donation: $5; free of charge to NYU students, faculty, and staff

Image: Judy Pfaff (AWAW 2012), Ram’s Delhi, 2012. Wood, mild steel rod, melted plastics, black aluminum foil, and LED and UV Fluorescent light, 70 x 132 x 17 in. Courtesy the artist and Miles McEnery Gallery, New York

Guerrilla Girls: Making Trouble
2025-04-12 10:00 - 2025-09-28 17:00 (America/New_York) | National Museum of Women in the Arts, 1250 New York Ave. NW, Washington, DC, 20005
The dynamic and indefatigable artist collective known as the Guerrilla Girls mark their fortieth anniversary in 2025. The group, who declared themselves “the conscience of the art world,” emerged in 1985 with bold text- and graphic-based prints denouncing discrimination. Comprising anonymous feminist-activist artists, the Guerrilla Girls are known for their provocative street campaigns and the advertising-style graphics that they use to broadcast their messages across billboards, buildings, banners, and other sites. Combining eye-catching aesthetics with stark statistics, the group brings widespread attention to issues of inequality and inequity.
Drawn from NMWA’s extensive holdings of work by the Guerrilla Girls, this exhibition presents an enthralling visual timeline of the group’s progress and ever-expanding subject matter. Although their first focus was gender disparity in the visual arts, today they cast a critical eye over a wide array of fields, including film, theater, politics, and pop culture. While the past four decades have seen unprecedented change in numerous social movements, many of the topics that the Guerrilla Girls addressed in the 1980s and ’90s (reproductive rights, environmental issues, and political corruption, to name a few) remain pressing today.
Over the years, the Guerrilla Girls have continued to make waves with their signature bold installations and advocacy for positive change. This exhibition highlights the collective’s intrepid work and encourages museum visitors to speak up with their own observations and activism. For forty years, the Guerrilla Girls have advocated for greater transparency and fairness in the arts and beyond, and they are not slowing down.

Exhibition Sponsors
Guerrilla Girls: Making Trouble  is organized by the National Museum of Women in the Arts and generously supported by the members of NMWA.
Museum Hours
Tuesday to Sunday
10 am to 5 pm

Legendary: An Exhibition of Women Artists
2025-05-26 08:00 - 2025-08-30 17:00 (America/New_York) | The Stacy C. Sherwood Center, 3740 Blenheim Blvd, Fairfax, VA, 22030
Legendary: An Exhibition of Women Artists addresses these inequities and aims to rectify them by creating a safe space for women artists to meet, exhibit and engage with the public.
Featured artists:
Amber Bryson
Ann Pham
Antonella Manganelli
Anyamani “Yok” Wongkachonkitti
Astrid Reeves
Bobbi Horsens
Cheryl VanderMolen Neway
Debra Wright
Hana Yang
Heather Eberst
Jes Berry
Jessica Gardner
Jo Westfall
Kathleen Stark
Kelly Snyder
Kristina Kilgallen
Lori Saunders
Natalia Malley
Renee Sandell
Rosemary Gallick
Sarah Ernst
This exhibition will be on view from May 26 to August 30, 2025.

Body in Action
2025-07-08 16:00 - 2025-09-06 18:00 (America/New_York) | Vila Velha Museum, Rua de Trás-os-Muros, Vila Real, 5000-657, Portugal
Beatriz Albuquerque presents her solo retrospective exhibition ‘Corpo em Ação’ (Body in Action) from July 12, 2025 to September 6, 2025 at Vila Velha Museum in Vila Real, Portugal.
Beatriz Albuquerque has a BA/BFA from Faculty of Fine Arts of Porto, an MFA from The School of the Art Institute of Chicago and a Doctorate from Columbia University, City of New York. Beatriz Albuquerque won multiple awards such as the Myers Award from Columbia University, New York, The Revelation Award at the 17th Cerveira Biennial, in Portugal as well as the ‘Ambient Series’ Award, PAC/Edge Performance Festival, Chicago.
This new solo exhibition showcases various interdisciplinary artistic and performative projects by Beatriz Albuquerque, such as Wonder Memories (Pilgrims of Memory) which is about the Portuguese diaspora; Crisis of Luck (Crisis in Luck), which won the Revelation Award at the 17th Cerveira Biennial, in which Beatriz offers the public a solution to all problems in the form of a fortune cake; or Activism (part of the Guerilla project) – a game and video art piece created to spark revolution and positive activism in all of us, which won the Myers Art Prize in New York and was selected by the director of the Casoria Contemporary Art Museum to be burned, in an act of protest, part of a campaign against austerity in art in Italy.
On July 12, 2025, at 4 pm, Beatriz Albuquerque will present a performance that is part of the exhibition, another of her ongoing projects, Trabalho de Graça (Work For Free). In this action, Beatriz offers the creation of a work of art requested by the participants. Each visitor will be able to order a piece, choosing from different media – painting, drawing, photography, performance, artist book, video, mail art, among others – and determine all the characteristics of the work. The only requirement is that the visitor provides the materials (canvas, paper, paint, etc.) and waits for the work to be completed. In some cases, the visitor will be able to witness the creation of the work. With this project, Beatriz Albuquerque continues to explore a desire to bring art closer to life and, simultaneously, our search for the democratization of art, thought and culture. Beatriz will close the exhibition with a performance scheduled for September 6, 2025 at 4pm.

FALL OF FREEDOM: Freedom of Expression
2025-11-15 - 2025-11-30 | NYC
The “FALL OF FREEDOM: Freedom of Expression” exhibit is a Women’s Caucus for Art (WCA) national, pop-up, online art exhibition spearheaded by the WCA Art Activism Pod. The exhibit was inspired by the recent New York Times article, “Artists Respond to the Fall of Freedom” (October 14, 2025). The call invited WCA members to reflect on the theme, “Freedom of Expression”.
The Fall of Freedom project is an urgent call to action—asking the arts community to unite in defiance of the authoritarian forces sweeping the nation. On November 21 and 22, galleries, museums, libraries, comedy clubs, theaters, and concert halls across the country will host exhibitions, performances, and public events that channel the urgency of this moment. To join in, WCA Art Activism Pod is hosting an online Artist Reception and Gallery Tour.
To learn more about Fall of Freedom Project, visit falloffreedom.com.
The exhibit is on view November 15-30, 2026.

Ecoarte: South Geopoetics: Art, Gender and Biocultural Transformation in a Contemporary Latin American Context
2025-11-21 18:00 - 21:00 (America/Mexico_City) | NYC
EcoArte Exhibition: South Geopoetics
Collective exhibition
CURATORIA Lilian Amaral
Artists Participants: Brazil + Colombia + Costa Rica
Ana Akaui – Ana Cristina Mendes – Cecília Calaça – Clarisse Tarran – Ivonne Villamil (Colombia/Spain) – Laurita Salles, Lilian Amaral & Bia Santos – Lucia Madriz (Costa Rica/Germany) – Luisa Giraldo Murillo (Colombia) – Lynn Carone Marina Jerusalinsly & Ana Basaglia – Nivalda Assunção & Armando Queiroz – Susan Campos-Fonseca (Costa Rica) Suzete Venturelli – Studio Urubu – Tania Fraga – Val Sampaio Ligia Oviedo Zúñiga MAP.
“Ecoarte: South Geopoetics: Art, Gender and Biocultural Transformation in a Contemporary Latin American Context”
Cured by Prof. Dr. Lilian Amaral | DIVERSITAS USP
We live in a constantly changing world that pushes us forward, forgetting the past and those who came before us. Public institutions and museums, in particular, as places that host the memory of collective heritage, have the social, cultural and ecological responsibility to preserve this memory on the basis of equality, equity, sustainability and interculturality.
The Nomadic Chair of Research-Creation | Diversitas USP has as perspective the research, reflection and the poetic-political action around the active presence of women in art, science and education, from the artivist curatorship and the collaboration of artists-researchers from different parts of the world, as promoters of artistic practices located horizontally, breaking hierarchies, with special focus in the Global South.
“Ecoarte: South Geopoetics: Art, gender and biocultural transformation in a contemporary Latin American context”, derives from the project of art, ecology and technology EcoArte: Terra em Trânsito, carried out throughout the year 2024 in Brazil and Spain. It proposes to expand and deepen the experiences, processes, methods and links between artists, researchers, artists, environmentalists and teachers, through processes of creation and economic research, directly involving issues that articulate the body, ecology, memory and technodiversity, putting in dialogue different cosmoperceptions and forms of care, highlighting the interdependence between different forms of human and non-human existence.
Considering the geopoetics, polyphony and transdisciplinarity of artistic and socio-environmental contexts focused on South and Central America, the works presented are shared in the Virtual Exhibition and analyzed in hybrid and face-to-face encounters, pointing to the intrinsic relationship between human being, nature and culture in their deep connections, awakening understanding and awareness about the ecological, biopolitical and interspecific dimensions involved in the global environmental/climatic agenda.
Art, as a catalyst for awareness and critical reflection on territories in emergency situations, has the unique ability to go beyond scientific data, appealing to the sensitive and emotional experience to generate deeper and more transformative involvement. In this scenario of biocultural and geopolitical mutations, geopoetics emerges as a fundamental perspective. It is not just a static representation of geography, but a dynamic way of inhabiting and understanding territories in emergency, activating urgent dialogues about our responsibility and our deep connection with the planet. In this context, poetic action becomes a powerful “artivism”, a practice that goes beyond contemplation to transform scientific knowledge and complex data into experiences capable of mobilizing consciousness and action, awakening “states of presence”.
It is a call for a culture of care, where art not only reflects the global climate crisis, but also invites us to actively inhabit it and reinvent our relationships with the environment and with others. It is a call for a technical invention that, as Simondon and Yuk Hui teach us, is aware of its impact and fosters the diversity of technological and poetic approaches, seeking true sustainability and mutual flourishing.
EcoArte thus presents a geopoetic and technodiverse panorama through sound and visual works that expand the contours and materialities of the making and point out the profound transformations of the present, crossing languages, media and contexts: photographs, embroidery, painting, performance, videoperformance, animation with use of AI, video art, created by 20 female artists | collectives of different Latin American origins, integrating a program activated by Exhibition
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“EcoArte: Geopoéticas del Sur. Arte, género y medio ambiente”

En el marco de la exhibición online “EcoArte: Geopoéticas del Sur. Arte, género y medio ambiente”, que se inaugura el 22 de noviembre en el Museo de las Mujeres, se celebra el IV Festival de VideoArte Museo de las Mujeres “Ecoarte y comunidades 2025” una muestra audiovisual que reúne las voces de artistas mujeres de Brasil, España y Costa Rica se unen a comunidades en Honduras, la costa pacífica de Costa Rica, y un Colegio Nocturno del caso urbano de Costa Rica para poner sobre la mesa la necesidad de ampliar el espacio para los discursos de cuidado, preservación, convivencia pacífica con el medio ambiente como un acto político.
A través de tres bloques curatoriales, el festival propone un espacio para reflexionar sobre diversas perspectivas críticas y poéticas: cuerpo, territorio, memoria, extractivismo, biodiversidad y prácticas de cuidado.
Además de la proyección de obras, se realizarán breves conversatorios con artistas y colectivos participantes, por un diálogo directo sobre los procesos de creación, y las luchas ambientales que atraviesan sus prácticas.
Desde la denuncia hasta la celebración de lo natural, esta edición del festival busca visibilizar las miradas ecofeministas, interseccionales y comunitarias que emergen desde el arte contemporáneo en América Latina y España
Esta actividad forma parte del Art City Tour y es posible gracias al apoyo de la Cátedra Diversitas de la Universidad de São Paulo, el Museo de las Mujeres de Costa Rica y nuestro anfitrión el Centro Cultural de España en Costa Rica.
Programa
6pm. Recepción, bienvenida y presentación curatorial
6:25pm. Bloque 1
1. Arriskua, 4’28», por Ivonne Villamil
Arriskua es un diálogo desde la escucha meteorológica, la navegación, las fronteras invisibles, las predicciones del tiempo. Reúne sonidos de la tierra y del cosmos, voces de cuerpos y materias que vibran entre sí, y lecturas (en euskera) de reportes meteorológicos. Una suma de fenómenos, fuerzas y seres que coexisten de un modo casi aleatorio e impredecible. La pieza sonora es creada en colaboración con Jimmy Solórzano y Alba Fernández.
2. Mulheres na Luz, 2’01», por LiIlian Amaral y Bia Santos
Mulheres na Luz es un acto poético-político de videoarte y arte público creado por Lilian Amaral y Bia Santos en São Paulo. Visibiliza la lucha de mujeres trabajadoras y en prostitución mediante una procesión performática colectiva, inscribiendo sus cuerpos, voces e historias en el espacio urbano como gesto de resistencia.
3. EntreMundos: Videoperformance, ecologia, subjetivação na criação de uma heterotopia, 5’04», por Lynn Carone
EntreMundos es una videoperformance que explora desplazamientos y metáforas del lugar mediante el cuerpo en acción y la tecnología. Combina espacios reales y utópicos, creando una ecología interior y heterotopía, donde lo humano y no humano dialogan a través de imagen, animación y sonido en un espacio simbólico y sensorial.
4. Flores, Memoráveis Momentos na Mente de um Demiurgo?, 5’04», por Tania Fraga
El ensayo reflexiona sobre la poesía como acto de creación en arte computacional. Presenta imágenes donde las flores simbolizan la vida y la tensión entre caos y orden. Estas obras invitan a experimentar y deleitarse, revelando la unión de opuestos y la evolución poética del demiurgo creador
5. Cavalo – Banano – Coco, 4’01», por Suzete Venturelli
Trabaja en arte computacional, realidad virtual, inteligencia artificial e interactividad, integrando ciencia, tecnología y creación artística. Coordina el grupo de investigación Arte Computacional Bioinspirada (CNPq) y desarrolla proyectos, exposiciones y publicaciones que exploran la relación entre arte, tecnología y naturaleza desde una perspectiva innovadora y multidisciplinaria.
6:55pm. Breve conversatorio con artistas creadoras
7:10pm. Bloque 2
6. No mar do céu, 4’04» por Arte coletivo
En el mar del cielo es consecuencia de la inmersión «danza y mar» con Beth Bastos y Mnrena Nascimento, en el Studio Urubu, en Picinguaba – Ubatuba, SP. Se trata de una investigación sobre el movimiento en espiral y su relación con el mar. Las imágenes fueron captadas durante una tarde de descanso entre las actividades de la inmersión.
7. Aguas de àl-mar, 4’04», por Laurita Salles
Águas de al-mar es una obra de videoarte que explora el movimiento del agua como metáfora emocional. A través de montaje y sonido electroacústico, crea un flujo audiovisual sin horizonte ni paisaje, articulando cine expandido con ritmos visuales y sonoros que invitan a una experiencia sensorial libre y poética.
8. The End, 1’44», por Lucía Madriz
La obra de Lucía Madriz aborda el biocolonialismo y la lucha indígena por la autodeterminación frente a la apropiación de recursos genéticos. Su arte denuncia la mercantilización de la vida y plantea la sostenibilidad como única vía posible hacia el futuro, tanto del arte como de la humanidad.
9. Quebrada Amarilla Video Arte, 4’19», por Susan Fonseca Campos
Esta obra, parte del “Extended Quijongo Project”, es un videoclip que simboliza la simbiosis entre plantas y terrenos industriales abandonados. Dirigido por Julián de la Chica y Rafael Chinchilla, es una canción de resistencia contra la destrucción de la Tierra causada por intereses humanos y transnacionales.
10. Une danse teintée violet / La creación de la maternidad, 2’02», por Colectivo a.capello.gva
Une danse teintée violet / La creación de la maternidad es una danza colectiva de mujeres de diversas nacionalidades, incluyendo costarricenses, que usan el método Dalcroze. Sus cuerpos son instrumentos que resuenan la vida y la maternidad, explorando la creación desde el ser vivo hasta la experiencia femenina.
7:45pm. Breve conversatorio con artistas creadoras
8pm. Bloque 3
11. El eco del fuego: San Juancito pinta voces con alas, 5», por Kelvyn RehMar
Kelvyn RehMar rescata trozos quemados de árboles del Parque Nacional San Juancito, Honduras, para crear tintas orgánicas con las que pinta aves que representan a los animales víctimas de incendios forestales. Su instalación, junto a un importante río que abastece Tegucigalpa, recuerda y honra a estas especies invisibilizadas durante las grandes tragedias forestales.
12. Aulas urbanas, problemas de la costa: más voces para Gandoca, 15», por el Colegio Nocturno de Desamparados
Estudiantes del Colegio Nocturno de Desamparados crean un video y podcast crítico sobre La Loca de Gandoca de Ana Cristina Rossi. Esta experiencia reflexiona sobre la convivencia con la naturaleza desde un barrio urbano de San José, fomentando sensibilidad literaria y nuevos vínculos entre lo urbano y rural.
13. Manos de mujeres cuidan el Pacífico, 12», por Mariposas del golfo
La Asociación de Mujeres Mariposas presenta su experiencia con el extractivismo, mostrando la realidad y esperanza de que convivir con los recursos costeros, en armonía con el medio ambiente y sin explotación, es posible donde exista respeto y cuidado ecológico y social.
8:30pm. Conversatorio breve con creadores gestores de honduras, mujeres pescadoras y estudiantes creadores de contenido del Colegio Nocturno de Desamparados
8:45pm Cierre del festival y palabras finales

Sobre las entidades organizadoras
El Museo de las Mujeres de Costa Rica, fundado en 2009, es una institución pionera en Centroamérica dedicada a la visibilización de las mujeres en el arte, la historia y los movimientos sociales. Es una filial activa de la Red Internacional de Museos de Mujeres (IAWM por sus siglas en inglés), lo que le permite conectar su trabajo local con agendas globales por la igualdad de género, los derechos humanos y la justicia ambiental. Desde su espacio físico en San José y sus plataformas digitales, el museo desarrolla exposiciones, archivos, investigaciones y actividades educativas con perspectiva feminista e inclusiva.
La Cátedra Diversitas: Disidencias Sexuales, Género y Derechos Humanos de la Universidad de São Paulo (USP) es un espacio académico y de articulación social que promueve la investigación, formación y divulgación en torno a temas de género, sexualidad, derechos humanos, interseccionalidad y justicia social. Vinculada a la Facultad de Filosofía, Letras y Ciencias Humanas, impulsa proyectos interdisciplinarios con impacto regional y latinoamericano, fortaleciendo redes entre universidades, colectivos, artistas y comunidades. Desde un enfoque crítico y descolonial, la cátedra busca ampliar los marcos de comprensión sobre las disidencias y luchas por equidad, posicionando el conocimiento como herramienta de transformación social.

Bailey Doogan: Ways of Seeing
2026-01-17 - 2026-04-04 | University of Arizona Museum of Art, 1031 North Olive Road, Tuscon, AZ, 85719, United States
The University of Arizona Museum of Art presents “Bailey Doogan: Ways of Seeing,” the first comprehensive survey to showcase selections from every phase of the late artist’s prolific career. A celebrated painter, graphic designer, and Professor Emerita, Bailey Doogan (1941–2022) was a pivotal figure in the feminist art movement, using her work to interrogate traditional conventions of female beauty and the politics of the aging body.
This exhibition features 80 works that span Doogan’s evolution from surrealist experimentation to her monumental, unflinching figurative paintings. Central to her practice was the belief that “our bodies are diaries of our experience”. By centering wrinkles, scars, and the physical realities of the female form—subjects historically marginalized in Western art—Doogan’s work opens vital conversations about representation, self-examination, and the power of the female gaze.

Featured Feminist Programming

Exhibition Reception: Thursday, January 22, 2026 | 5:00 PM – 7:00 PM
Panel Discussion: Friday, January 23, 2026 | 4:30 PM – 5:30 PM. Featuring Terry Etherton, Doug Nielsen, Cynthia Miller, and Ann Simmons-Myers; moderated by curator Violet Rose Arma.
Virtual Talk: “Horror and Humor: Bailey Doogan and the Feminist Revolution”Thursday, February 5, 2026 | 5:00 PM – 6:00 PM. Art critic Eleanor Heartney examines how 1980s feminist thinking shaped Doogan’s strikingly original outlook on gender, power, and the body.

Curators: Violet Rose Arma and Olivia Miller, in close consultation with Moira Doogan.

Call for Art: Body Sovereignty
2026-03-20 08:00 - 2026-04-18 23:30 (America/Chicago) | ARC Gallery, 1463 W Chicago Ave, Chicago, IL, 60642, United States
Call for Art: Body Sovereignty
Curator: Danni O’Brien
Application Deadline: Saturday, April 18, 2026
The body has always been contested territory. Legislated, pathologized, fetishized, disciplined — the body and its desires have rarely been left in peace, let alone in the control of the people who inhabit them.
Body Sovereignty is an exhibition about who owns our body, its expression and its sexuality.
ARC Gallery invites artists working across all media to submit work that claims for itself a radical ownership over sexuality, desire, and bodily identity. We are interested in art that refuses to be tamed — work that finds the erotic in the accidental, the absurd, the domestic, and the discarded. Work that borrows the visual language of instruction and mechanism only to subvert it. Work that is bold in its irreverence, polymorphic in its affect, and unafraid to blur lines between innocence and perversion, function and fantasy, the handmade and the found.
We are drawn to art that treats the body not as subject matter but as site of survival — art assembled from cultural cast-offs, scavenged and repurposed into something fantastical and alive. Art that is cheeky and meditative in equal measure. That takes months to resolve what was gathered intuitively. That arrives slowly at something unsettling and true.
Body Sovereignty is not about shock. It is about depth of feeling — about understanding, as Audre Lorde wrote, that the erotic is a measure of our most expansive sense of self.
We Welcome Work That:

Claims ownership over desire, sexuality, and gender on one’s own terms

Plays at the intersection of the bodily, the mechanical, and the domestic

Transforms everyday materials into something visceral and alive

Explores queer identity, conspicuous consumption, and bodily survival through a fantastical or absurdist lens

Engages the erotic through abstraction, humor, tenderness, or the uncanny — not necessarily through explicit imagery

Refuses easy categorization and sits comfortably at the edge of innocence and perversion, play and politics

Media

All media welcome, including sculpture, assemblage, ceramics, collage, painting, drawing, fiber arts, printmaking, papermaking, video, and installation. We are especially excited by hybrid works and interdisciplinary practices.

Deadline for Submission of Applications: Saturday, April 18 2026 at 11:59pm CST

Notification of Acceptance: By email on May 6, 2026

Delivery of work to ARC: Thursday & Friday May 28 & May 29, 2026, 2-6pm; Saturday, May 30, 12-4pm

Pick-Up Work at Gallery: Saturday, June 27, 2026, 2:30-4pm

Shipped Work Return Date: First two weeks of July (determined by the delivery method)

*Pre-Paid FedEx or UPS return label is required

*Do not use the U.S. Postal Service

About the Curator: Danni O’Brien
Danni O’Brien (she/they) is a queer, interdisciplinary artist based outside Baltimore, MD. Through scavenging and collecting, O’Brien builds enigmatic sculptures and reliefs from found objects, vintage patent diagrams, handmade paper pulp, ceramics, and the cast-offs of consumer culture. Her work grapples with queer identity, dystopian survival, and conspicuous consumption — playful and absurd on the surface, deeply meditative underneath. O’Brien has exhibited at the Museum of Contemporary Art Arlington, Asya Geisberg Gallery, Hamiltonian Gallery, and the Virginia Museum of Contemporary Art, and has held residencies with The Wassaic Project, Baltimore Clayworks, the Elizabeth Murray Artist Residency, Byrdcliffe Colony, and Stove Works, among others. She is the recipient of Individual Artist Grants from the Belle Foundation for Cultural Development and the Maryland State Arts Council.
Visit Dani @ www.danielleobrienart.com
Opening Reception, Friday, June 5th, 5:00-8:00pm

Exhibition dates: June 5-26, 2026

Gallery hours: Thurs – Fri 2-6pm, Sat – Sun 12-4 pm

This program is partially supported by a grant from the Illinois Arts Council Agency.

JAZ GRAF - IMMANENT FRAY
2026-04-25 14:00 - 2026-05-30 16:00 (America/New_York) | Morton Fine Art, 52 O St NW #302, Washington, DC, 20001, United States
IMMANENT FRAY
New Multi-Layered Paper Pulp Artworks by JAZ GRAF
April 25th – May 30th, 2026
Opening reception 2pm-4pm on Saturday, April 25th, 2026.
The artist will be in attendance. Please RSVP to info@mortonfineart.com
Morton Fine Art, 52 O St NW #302, Washington, D.C. 20001
Contact the gallery for viewing Tuesday – Saturday by appointment, price list, additional information and acquisition.
(202) 628-2787 (call or text)
www.mortonfineart.com
info@mortonfineart.com
IMMANENT FRAY
A state of fray captures that in-between moment when possibility is becoming and certainty unwinds. This body of work is a deeper look at, into and across the raw edges of things. Under a magnified lens, paper appears as a complex, interconnected web of fibers. Poetically, Thich Nhat Hanh described this as interbeing. I explore relationalities through material such as mulberry fiber, silk, and worn sacred cloth, engaging with the cultural narratives they embody. Cloth that has been worn by people can speak to subtle sensory worlds, steep us in symbolism or stories of the past, ushering forth new rituals. Taking form as dendritic extensions, stitching motifs, veils of pulp, or imperceptible orange specks of fabric, edges converge to become more than the sum of their parts. The intertwining network is a transitional zone, a dynamic interfacing between matter and metaphysical epistemologies. All edges are flows of fray. Impermanence as no arrival of home, yet emergence, ever-present.
~Jaz Graf

Un-Language 4 Gender Equality
2026-05-17 21:30 - 2026-05-19 22:30 (America/New_York) | The tank, 312 W 36th St., New York, NYC, 10018
UN-LANGUAGE 4 Gender Equality, 5/17, 5/18, & 5/19 @ 9:30 PM
Co-authors/Performers: Beatriz Albuquerque, Simone Federman, David Moscovich, Kaushik Reddy Pamulaparthy, Nina Sobell @ The Tank NYC, 312 W 36th St. NYC, NY 10018
The performers are talking without saying a word. Can you decipher the code?
One microphone awaits, with a spotlight shining over it. Will you, too, step up and play a part? This is UN-LANGUAGE.
“UN-LANGUAGE 4 Gender Equality” facilitates conversations that challenge societal norms and inspire action towards gender equality. Art has the power to evoke empathy, cast doubt, to expand worldviews, and we are committed to using this platform to amplify marginalized voices. By fostering an inclusive environment, we foment a space where individuals feel empowered to share their experiences and perspectives, ultimately contributing to a more equitable society.
Donations from the program will be given to the Global Justice Center, a New York non-profit.
https://thetanknyc.org/calendar-1/2026/4/1/un-language-4-gender-equality
