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DTSTART;TZID=America/New_York:20250505T080000
DTEND;TZID=America/New_York:20260505T170000
DTSTAMP:20260418T175227
CREATED:20250530T134355Z
LAST-MODIFIED:20250530T134355Z
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SUMMARY:Rejoinder Issue 10: Dissenting Feminisms
DESCRIPTION:We are pleased to announce that the Spring 2025 issue of Rejoinder is now available. The theme of this issue is “Dissenting Feminisms.”  Contributors include: Tina Escaja\, Vuyokazi Ngemntu\, Ildikó Kalapács\, Destiny Crockett\, Catherine A. Evans\, Jessie B. Ramey\, Mahdiyeh Govah\, Judy Rohrer\, Jaime Cantrell\, Avik Sarkar\, Sheila Shankar\, Soo Young Lee\, and Alexis Krasilovsky.  \n\n\nRejoinder is an online journal published by the Institute for Research on Women (IRW) at Rutgers in partnership with The Feminist Art Project. \n\n\nThe issue is available at: https://irw.rutgers.edu/rejoinder. \nImage:\nIldikó Kalapács\, Dueling Women\nAcrylic\, mixed media\nCourtesy of the artist.
URL:https://thefeministartproject.org/event/rejoinder-issue-10-dissenting-feminisms/
LOCATION:Online
CATEGORIES:Publication
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/05/Dueling_Women.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251118T080000
DTEND;TZID=America/New_York:20260216T170000
DTSTAMP:20260418T175227
CREATED:20251115T163438Z
LAST-MODIFIED:20251115T163438Z
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SUMMARY:Diasporic Worldings: Gabriela Aceves Sepúlveda
DESCRIPTION:Diasporic Worldings is an experimental video by Gabriela Aceves Sepúlveda that explores the experiences of people in the diaspora as they form and imagine relationships with land\, place\, territories\, and ecosystems. It uses the term “diasporic” as an adjective to describe those who belong to a diaspora due to either forced or voluntary migration and “worlding” as a creative process where “worlds” develop through ongoing engagement and interconnections with humans and more-than-humans. Inspired by Martinican philosopher Édouard Glissant’s distinction between archipelagic thinking as fragmentary and intuitive and continental thinking as all-encompassing and systematic\, and Mexican writer Cristina Rivera Garza’s use of frottage drawing as a mnemonic technique to recover an embodied connection to place\, the video features actions performed on camera and images involving different approaches to map-making.
URL:https://thefeministartproject.org/event/diasporic-worldings-gabriela-aceves-sepulveda/
LOCATION:Urban Screen at Libby Lesghold Gallery\, ECUAD\, 520 East 1st Avenue\, Vancouver\, British Columbia\, V5T 0 H2\, Canada
CATEGORIES:Lecture
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/11/DW_tierramapa_aceves2.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251119T080000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260418T175227
CREATED:20251122T152116Z
LAST-MODIFIED:20251122T152116Z
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SUMMARY:2025 Anonymous Was A Woman Awards
DESCRIPTION:Anonymous Was A Woman awards $750\,000 to 15 women artists over the age of 40\, who each receive $50\,000 in recognition of their work\nThe 2025 award follows AWAW’s landmark survey and symposium addressing the lives and careers of women artists \nNovember 19\, 2025—Anonymous Was A Woman (AWAW) today announced the recipients of its 2025 awards\, recognizing 15 artists over the age of 40 who have made significant contributions while continuing to create new work. Each recipient receives an unrestricted award of $50\,000. Founded in 1996 by artist Susan Unterberg\, Anonymous Was A Woman supports woman-identifying artists at critical points in their lives and careers. The organization has awarded more than $8 million to over 300 artists since its inception. This year’s recipients range in age from 41 to 83\, and include artists working in a variety of mediums across the U.S. Earlier this year\, AWAW released the results of the Anonymous Was A Woman Artist Survey—a landmark study conducted in partnership with journalists Charlotte Burns and Julia Halperin and SMU DataArts—which synthesized responses from over 1200 artists to provide a nuanced portrait of the challenges and successes of women artists today. The findings were presented at Artists Speak: The Anonymous Was A Woman Symposium\, a convening at New York University in April 2025 that brought together artists\, curators\, and advocates to discuss systemic inequities and strategies for change. “This year marks a moment of both reflection and action\,” said Susan Unterberg\, founder of AWAW. “The insights from our inaugural survey and symposium have deepened our understanding of what women artists need to thrive\, and reaffirmed the urgency of continuing to provide direct\, unrestricted support. At a moment when the arts and the rights of women are under threat\, I’m honored to recognize this year’s extraordinary group of artists—each of whom expands the field in profound and original ways. I started Anonymous Was A Woman partially in response to the end of federal funding to individual artists. Nearly thirty years later\, that same need motivates us to continue our work of uplifting women artists in mid-career.” \nThe 2025 Anonymous Was A Woman Award recipients are: \nCandida Alvarez\nAmbreen Butt\nJoAnne Carson\nCecelia Condit\nLola Flash\nSonya Kelliher-Combs\nMichelle Marcuse\nPark McArthur\nNicole Miller\nNarcissister\nDhara Rivera\nLinda Stark\nKunié Sugiura\nHong-Ân Trương\nPaula Wilson
URL:https://thefeministartproject.org/event/2025-anonymous-was-a-woman-awards/
LOCATION:IL
CATEGORIES:Award
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/Screenshot-2025-11-22-at-10-14-07-Instagram.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260117
DTEND;VALUE=DATE:20260405
DTSTAMP:20260418T175227
CREATED:20260119T131327Z
LAST-MODIFIED:20260119T131633Z
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SUMMARY:Bailey Doogan: Ways of Seeing
DESCRIPTION: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.\nThis 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.\n\nFeatured Feminist Programming\n\nExhibition Reception: Thursday\, January 22\, 2026 | 5:00 PM – 7:00 PM\nPanel 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.\nVirtual 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.\n\nCurators: Violet Rose Arma and Olivia Miller\, in close consultation with Moira Doogan.
URL:https://thefeministartproject.org/event/bailey-doogan-ways-of-seeing/
LOCATION:University of Arizona Museum of Art\, 1031 North Olive Road\, Tuscon\, AZ\, 85719\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2026/01/Bailey-Doogan.-Mea-Corpa-1992-Oil-on-linen-72-x-48.-Courtesy-of-the-Estate-of-Bailey-Doogan-2-e1768828578847.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T130000
DTEND;TZID=America/New_York:20260220T140000
DTSTAMP:20260418T175227
CREATED:20260123T164310Z
LAST-MODIFIED:20260123T164310Z
UID:10000826-1771592400-1771596000@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Business Meeting and Mixer
DESCRIPTION:TFAP@CAA 2026 Business Meeting and Mixer\nFriday\, February 20 | 1:00pm – 2:00pm\nLower Level\, Salon C-5\, Hilton Chicago\nFree and open to the public \nJoin the WCA TFAP caucus during our Affiliated Society business meeting slot for a social mixer. Connect with friends and colleagues\, meet new people\, and learn about TFAP!
URL:https://thefeministartproject.org/event/tfapcaa-2026-business-meeting-and-mixer/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T163000
DTEND;TZID=America/New_York:20260220T180000
DTSTAMP:20260418T175227
CREATED:20251206T152856Z
LAST-MODIFIED:20260216T224948Z
UID:10000823-1771605000-1771610400@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Affiliated Society Session | FEMINIST\, QUEER\, AND TRANS ART ACTIVISTS IN ACTION!
DESCRIPTION:TFAP@CAA 2026 Affiliated Society Session\nFeminist\, Queer\, and Trans Art Activists in Action!\nChairs:\nConnie Tell\, The Feminist Art Project\nJoanna Gardner-Huggett\, DePaul University\n \nFriday\, February 20\, 2026\, 4:30-6:00pm\nWilliford C (3rd Floor)\, Hilton Chicago\n*CAA Conference Registration Required. \nCollege Art Association 114th Annual Conference | Chicago\, February 18–21\, 2026 \nFor nearly twenty years\, The Feminist Art Project has supported intersectional and intergenerational conversations regarding feminist\, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance\, in the 1970s\, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime\, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s\, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999\, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available\, and in 2001\, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist\, queer\, and trans artists\, activists\, and scholars are being silenced in this political moment globally\, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid\, especially work overlooked in current art historical scholarship. \nPanelists:\n“Queer Archives from South Bend: Archiving as Protest and Preservation”\nJason Daniels and Grace Hamilton\nIn 1971\, Gloria Frankel\, a cab driver from New York City\, established South Bend’s first drag bar\, the Seahorse Cabaret. Her visionary leadership and mentorship profoundly shaped the growth of queer and drag spaces throughout the Michiana region. Exploration of drag history\, both locally and internationally\, reveals its socio-cultural significance and the urgent need to preserve the narratives of drag performers.\nRecognizing the impact of drag performers on queer communities\, archival work serves to safeguard and celebrate this vibrant cultural heritage. The archive functions as both a visual and narrative repository\, capturing the evolution of drag and its broader implications for community identity\, resilience\, and visibility.\nBeyond the glittering façade of sequins and performance\, spaces such as the Seahorse have operated as stages where political activism and social resistance converge. Frankel created inclusive environments that enabled community members to engage safely and creatively\, fostering a sense of belonging often absent in small-town contexts. Her story represents a necessary pillar of South Bend’s history\, and preserving it counters the erasure of queer memory\, particularly amid political attacks and cultural neglect targeting LGBTQ+ archives.\nThrough oral histories\, artifact collection\, and storytelling\, this project positions archiving as both preservation and protest\, emphasizing that queer memory is essential for sustaining future generations and supporting ongoing acts of cultural and political resilience. \n“A Model of Mutual Aid within Protest: Betsy Damon\, Alison Knowles and The Lesbian Art Show”\nChristine A. Filippone\, Millersville University\nLesbian\, feminist artist Betsy Damon was among the eighteen artists included in The Lesbian Show (1978)\, one of the first exhibitions of lesbian art curated by Harmony Hammond at White Columns on Greene Street\, New York City. Damon’s sculptural installation for the show was titled Ancestors\, which\, like her famed street performance 7\,000 Year Old Woman\, honored all the women who had come before her. Ancestors was comprised of a set of life-sized plaster body casts of her collaborators\, her community\, seated together on a bed of sand around a ring of colored bags filled with flour. Carrying the giant body casts into the gallery\, Damon explained\, was a process of “bringing the ancestors back.” In a performance organized for the show\, Damon’s flesh and blood community performed in various poses amidst the plaster casts\, among them her friend\, Fluxus artist Alison Knowles. Enamoured with Betsy’s bags\, Knowles proceeded to borrow them for years or her own works including Bean Bag\, Printed Editions\, 1978. This small act of mutual aid set within a groundbreaking activist exhibition organized\, as Hammond wrote\, to make “lesbian artists visible to each other as well as to the women’s community”\, is a microcosm of the commitment to community Damon’s life and work has evidenced to this day. To honor this act and Knowles’s and Damon’s lifelong friendship\, I will present this paper in collaboration with my friend art historian Hannah Higgins\, the daughter of Alison Knowles. \n“Text\, Textile\, and Action: Collective Strategies in Latin American Art”\nJacqueline R. Witkowski\, Western Washington University\nTextility\, or the relationship of materials and the forces they embody\, is a term useful for thinking about how textiles intersect with systems of thought (Ingold 2010). In its contemporary resurgence\, fiber art has been increasingly understood in connection with “text\,” highlighting its communicative force and operation as a form of language. Textiles\, like writing\, transmit meaning through material processes\, embodied gestures\, and collective memory.\nThe focus of this paper is on the practices of two artist collectives: Pontos de Luta from Belo Horizonte\, Brazil\, and Cooperativa Gráfica La Voz de la Mujer from Buenos Aires\, Argentina. Both employ the interplay of fiber and writing to confront persistent restrictions on political\, gendered\, and identity-based freedoms in their national contexts. Their practices foreground marginalized and disappeared populations\, positioning fiber and craft as central to struggles over visibility\, testimony\, and resistance. These initiatives engage with historical genealogies of clandestine and gendered media in the region\, from the arpilleristas in Chile who denounced the dictatorship through their embroidery\, and the early feminist print collective in Argentina\, La Voz de la Mujer.\nBy situating these two collectives within a transnational history of politically engaged fiber and print\, this paper asks: How might text and textile operate together as resistant forms of language? And how do women-centered collectives mobilize these mediums to generate shared vocabularies of protest and survival? \n“The Aravani Art Project: Transgender Awareness Through Art in India”\nAnindita Sengupta\nThe Aravani Art Project is a trans-women and cis-women led art collective that works on creating awareness about the transgender community and changing the way Indian society views the LGBTQIA+ community. In India\, “transgender” often refers to the Hijra community\, a traditional “third gender” group recognized by the government since 2014. The community faces severe and traumatic social stigma\, discrimination\, and marginalization. Many live in self-formed communities\, excluded from mainstream occupations and society. This will be an extremely enlightening addition to discuss trans rights in the global south and how people there are addressing them through art.
URL:https://thefeministartproject.org/event/tfapcaa-2026-affiliated-society-session-feminist-queer-and-trans-art-activists-in-action/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260221T110000
DTEND;TZID=America/New_York:20260221T123000
DTSTAMP:20260418T175227
CREATED:20251206T155253Z
LAST-MODIFIED:20260217T143132Z
UID:10000824-1771671600-1771677000@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Special Session | OUTCRY: ALCHEMISTS OF RAGE
DESCRIPTION:TFAP@CAA 2026 Special Session\nOUTCRY: Alchemists of Rage\nShort documentary film screening & conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw\nChair: Kathleen Wentrack\, The City University of New York\, Queensborough CC\nModerator: Rachel Middleman\, California State University\, Chico\n \nSaturday\, February 21\, 2026\, 11:00am-12:30pm\nBoulevard A/B (2nd Floor)\, Hilton Chicago\n*Free and open to the public. \nCollege Art Association 114th Annual Conference | New York City\, February 18–21\, 2026 \nThe Feminist Art Project is thrilled to host a special screening of OUTCRY: Alchemists of Rage\, an impactful short documentary film that highlights the power of art to drive social change. On Saturday\, February 21\, TFAP will host an in-person screening of the 30-minute film during the 2026 CAA conference followed by a conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw and Kathleen Wentrack\, TFAP Managing Committee member. \nOUTCRY: Alchemists of Rage follows artist and former social worker Whitney Bradshaw as she photographs women\, non-binary\, and genderqueer people mid-scream in cathartic group sessions where long-silenced stories conjure rage\, sorrow\, and joy. The film offers a visceral rallying cry for the revolutionary power of women and non-binary people’s voices. \nThe film is directed by Clare Major and produced by Whitney Bradshaw and Frankly Speaking Films. The score was composed by Paris Hurley of Object as Subject. Paris Hurley also did the score for Kristen Stewart’s new film The Chronology of Water. An adaptation of Lidia Yuknovitch’s acclaimed memoir. Out in theaters now. OUTCRY: Alchemists of Rage made the International Documentary Association (IDA) 2024 Shortlist for Best Short Documentary Film. \nJoin us to watch and discuss this powerful film! \n______________\nWhitney Bradshaw (she/her) is an artist\, activist\, educator\, curator\, former social worker and the subject and producer of OUTCRY: Alchemists of Rage (2024). Her work has been shown widely across the United States including solo shows at Atlanta Contemporary\, the Berkeley Art Museum and Pacific Film Archive\, the DePaul Art Museum\, Wave Pool Contemporary Art Fulfillment Center\, and the 21c Museum Hotel Louisville. The Museum of Contemporary Photography\, the DePaul Art Museum\, Northwestern University Pritzker School of Law\, Hall Art and Technology Foundation\, and Sara M. and Michelle Vance Waddell collect her work\, which has been published in Ms. Magazine\, the New York Times\, the Chicago Tribune\, and Vogue. In 2023\, Bradshaw was named one of NewCity Magazine’s 50 Chicago Artists’ Artists. She is currently the curator at the Lubeznik Center for the Arts in Michigan City\, Indiana.
URL:https://thefeministartproject.org/event/tfapcaa-2026-special-session-outcry-alchemists-of-rage/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session,Film Screening
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20260320T080000
DTEND;TZID=America/Chicago:20260418T233000
DTSTAMP:20260418T175227
CREATED:20260322T141521Z
LAST-MODIFIED:20260322T141521Z
UID:10001343-1773993600-1776555000@thefeministartproject.org
SUMMARY:Call for Art: Body Sovereignty
DESCRIPTION:Call for Art: Body Sovereignty \nCurator: Danni O’Brien \nApplication Deadline: Saturday\, April 18\, 2026 \nThe 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.\nBody Sovereignty is an exhibition about who owns our body\, its expression and its sexuality.\nARC 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.\nWe 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.\nBody 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. \nWe Welcome Work That: \n\n\nClaims ownership over desire\, sexuality\, and gender on one’s own terms \n\n\nPlays at the intersection of the bodily\, the mechanical\, and the domestic \n\n\nTransforms everyday materials into something visceral and alive \n\n\nExplores queer identity\, conspicuous consumption\, and bodily survival through a fantastical or absurdist lens \n\n\nEngages the erotic through abstraction\, humor\, tenderness\, or the uncanny — not necessarily through explicit imagery \n\n\nRefuses easy categorization and sits comfortably at the edge of innocence and perversion\, play and politics \n\n\nMedia \n\n\nAll 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. \n\n\nDeadline for Submission of Applications: Saturday\, April 18 2026 at 11:59pm CST \n\n\nNotification of Acceptance: By email on May 6\, 2026 \n\n\nDelivery of work to ARC: Thursday & Friday May 28 & May 29\, 2026\, 2-6pm; Saturday\, May 30\, 12-4pm \n\n\nPick-Up Work at Gallery: Saturday\, June 27\, 2026\, 2:30-4pm \n\n\nShipped Work Return Date: First two weeks of July (determined by the delivery method) \n\n\n*Pre-Paid FedEx or UPS return label is required \n\n\n*Do not use the U.S. Postal Service \n\n\nAbout the Curator: Danni O’Brien \nDanni 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. \nVisit Dani @ www.danielleobrienart.com \nOpening Reception\, Friday\, June 5th\, 5:00-8:00pm\n\n\nExhibition dates: June 5-26\, 2026 \n\n\nGallery hours: Thurs – Fri 2-6pm\, Sat – Sun 12-4 pm \n\n\nThis program is partially supported by a grant from the Illinois Arts Council Agency.
URL:https://thefeministartproject.org/event/call-for-art-body-sovereignty/
LOCATION:ARC Gallery\, 1463 W Chicago Ave\, Chicago\, IL\, 60642\, United States
CATEGORIES:Call for Applications/Residency,Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2026/03/1.png
ORGANIZER;CN="ARC Gallery":MAILTO:info@arcgallery.org
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