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

Rejoinder Issue 10: Dissenting Feminisms
2025-05-05 08:00 - 2026-05-05 17:00 (America/New_York) | Online
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.

Rejoinder is an online journal published by the Institute for Research on Women (IRW) at Rutgers in partnership with The Feminist Art Project.

The issue is available at: https://irw.rutgers.edu/rejoinder.
Image:
Ildikó Kalapács, Dueling Women
Acrylic, mixed media
Courtesy of the artist.

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
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.

Strength and Visibility: Curating Women Artists between Past and Present
2025-11-15 17:00 - 19:00 (America/New_York) | Brasov Art Museum, Bulevardul Eroilor 21, Brașov 500030, Romania
Museum of Art Brașov, Romania and 4Culture Association invites you to the conference “Strength and Visibility: Curating Women Artists between Past and Present”, a dialogue between Andreea Căpitanescu and Olivia Nițiș. The discussion offers a framework for reflection on visibility, continuity, and critical positioning, bringing to the forefront the need to recover and integrate the contributions of women artists into the broader narrative of Romanian art. Andreea Căpitănescu is a cultural producer, independent curator and artistic director, active since 2005. Founder of the 4Culture Association, she initiated eXplore Festival – the first contemporary dance and performance festival in Romania – and created the independent space WASP – Working Art Space and Production in Bucharest. Her activity is carried out within European networks and platforms, through programs that support contemporary artistic creation, international collaboration, artistic research, education and support for emerging artists. She holds a PhD in Visual Arts (UNARTE, 2024), a Master in Project Management in English (SNSPA, 2022), a Master in Contemporary Performance Direction (UNATC, 2005–2006) and a Bachelor’s degree in Choreography (UNATC, 2004). She was a danceWEB 2006 scholarship holder at ImPulsTanz Vienna. He curated the performing arts program of Europalia Romania (Brussels, 2019–2020) and coordinates projects such as Life Long Burning, Jardin d’Europe, Emerging Towards (Future) and Exploring Plurealities. Olivia Nițiș is a researcher at the “G. Oprescu” Institute of Art History of the Romanian Academy, coordinator of the Modern and Contemporary Visual Arts and Architecture department, independent curator, art historian. She is the vice-president of the Experimental Project Association, member of the International Association of Art Critics since 2009. She is interested in the various aspects of gender discourse in the historiography of Romanian art and in Eastern Europe, with contributions related to women artists and gender representation in modern and contemporary art, the relationship between art and politics, the relationship between art and science. She is the author, editor and co-editor of several articles and publications on contemporary art. She is the author of the volume “Marginal Histories of Feminist Art”, Vellant, Bucharest, 2014 and co-editor of a volume dedicated to the conceptual artist Decebal Scriba (Kettler, Germany 2017). She was co-curator (with Martina Munivrana) of the solo exhibition of Croatian artist Sandra Sterle at the Museum of Contemporary Art in Zagreb (MSU) in 2023, and in 2024 she was the initiator and curator of the Romanian-Czech conceptual art project A Spring of Hope a Winter of Despair (Faber, Timișoara and Pragovka, Prague). The event is part of the project “Virtual Museum of Art under Communism. Perspectives on a Controversial Heritage”, carried out by the Brașov Art Museum and co-financed by the National Cultural Fund Administration, which aims to open the artistic heritage of the communist period to critical and current interpretations. In this context, the discussion brings to attention the presence and contribution of women artists in the history of Romanian art, analyzing the way in which their works were collected, contextualized and viewed in relation to the dominant discourses of the era. The conference anticipates the opening of the “Tower of Strength” exhibition, which will be inaugurated at the Brașov Art Museum on December 5, 2025, and proposes an open dialogue between history, research and current artistic practice, within the Compulser Lab project initiated by the 4Culture Association and co-financed by the National Cultural Fund Administration.

Diasporic Worldings: Gabriela Aceves Sepúlveda
2025-11-18 08:00 - 2026-02-16 17:00 (America/New_York) | Urban Screen at Libby Lesghold Gallery, ECUAD, 520 East 1st Avenue, Vancouver, British Columbia, V5T 0 H2, Canada
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.

2025 Anonymous Was A Woman Awards
2025-11-19 08:00 - 2026-11-01 17:00 (America/New_York)
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
The 2025 award follows AWAW’s landmark survey and symposium addressing the lives and careers of women artists
November 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.”
The 2025 Anonymous Was A Woman Award recipients are:
Candida Alvarez
Ambreen Butt
JoAnne Carson
Cecelia Condit
Lola Flash
Sonya Kelliher-Combs
Michelle Marcuse
Park McArthur
Nicole Miller
Narcissister
Dhara Rivera
Linda Stark
Kunié Sugiura
Hong-Ân Trương
Paula Wilson

Ecoarte: South Geopoetics: Art, Gender and Biocultural Transformation in a Contemporary Latin American Context
2025-11-21 18:00 - 21:00 (America/Mexico_City)
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
________________
“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.

Rejoinder Open Call
2025-11-26 00:00 - 2026-01-15 00:00 (America/New_York)
Rejoinder Open Call: Issue 11
DEADLINE: January 15, 2026
Ritual, Healing, and World-Making

How do we mark transitions, generate transformational visions, and model alternate ways of being in a world imploding around us? How do we find joy while surrounded by brokenness? How do we heal when systems are structured against us? What rituals or practices can restore us, even speak to our souls? The next issue of Rejoinder explores the theme of ritual, healing, and world-making. Submissions (including essays, commentary, criticism, fiction, poetry, and artwork) should address this theme from feminist, queer, and social justice-inspired perspectives. We particularly welcome contributions at the intersection of scholarship and activism. For manuscript preparation details, please see our website at: http://irw.rutgers.edu/about-rejoinder. Rejoinder is published by the Institute for Research on Women at Rutgers University in partnership with the Feminist Art Project. Please send completed written work (2,000-2,500 words max — MS Word), jpegs of artwork, and short bios to irw@sas.rutgers.edu with “Rejoinder Submission” in the subject line by January 15, 2026.

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.

TFAP@CAA 2026 Business Meeting and Mixer
2026-02-20 13:00 - 14:00 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA 2026 Business Meeting and Mixer
Friday, February 20 | 1:00pm – 2:00pm
Lower Level, Salon C-5, Hilton Chicago
Free and open to the public
Join 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!

TFAP@CAA 2026 Affiliated Society Session | FEMINIST, QUEER, AND TRANS ART ACTIVISTS IN ACTION!
2026-02-20 16:30 - 18:00 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA 2026 Affiliated Society Session
Feminist, Queer, and Trans Art Activists in Action!
Chairs:
Connie Tell, The Feminist Art Project
Joanna Gardner-Huggett, DePaul University

Friday, February 20, 2026, 4:30-6:00pm
Williford C (3rd Floor), Hilton Chicago
*CAA Conference Registration Required.
College Art Association 114th Annual Conference | Chicago, February 18–21, 2026
For 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.
Panelists:
“Queer Archives from South Bend: Archiving as Protest and Preservation”
Jason Daniels and Grace Hamilton
In 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.
Recognizing 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.
Beyond 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.
Through 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.
“A Model of Mutual Aid within Protest: Betsy Damon, Alison Knowles and The Lesbian Art Show”
Christine A. Filippone, Millersville University
Lesbian, 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.
“Text, Textile, and Action: Collective Strategies in Latin American Art”
Jacqueline R. Witkowski, Western Washington University
Textility, 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.
The 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.
By 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?
“The Aravani Art Project: Transgender Awareness Through Art in India”
Anindita Sengupta
The 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.

TFAP@CAA 2026 Special Session | OUTCRY: ALCHEMISTS OF RAGE
2026-02-21 11:00 - 12:30 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA 2026 Special Session
OUTCRY: Alchemists of Rage
Short documentary film screening & conversation with the film subject, producer, and creator of OUTCRY, Whitney Bradshaw
Chair: Kathleen Wentrack, The City University of New York, Queensborough CC
Moderator: Rachel Middleman, California State University, Chico

Saturday, February 21, 2026, 11:00am-12:30pm
Boulevard A/B (2nd Floor), Hilton Chicago
*Free and open to the public.
College Art Association 114th Annual Conference | New York City, February 18–21, 2026
The 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.
OUTCRY: 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.
The 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.
Join us to watch and discuss this powerful film!
______________
Whitney 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.

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

Rejoinder: Ritual, Healing, and World-Making
2026-05-09 00:00 - 2027-05-15 00:00 (America/New_York) | n/a
Rejoinder: Issue 11
Ritual, Healing, and World-Making
In a world increasingly marked, or marred, by brutality and rupture, our call for submissions posed a set of questions about survival in challenging times. We sought insight about ways to harness agency and creativity in the face of persistent turmoil. We wanted to know how people find joy amidst brokenness and heal despite systems structured to harm. We asked about restorative rituals and practices that could speak to our souls. And we sought to discover how people mark transitions, generate transformational visions, and model alternate ways of being.
Rejoinder is an online journal published by the Institute for Research on Women (IRW) at Rutgers in partnership with The Feminist Art Project.

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
