 In brief, feminist artists share a political sense of the historic social subordination of women and an awareness of how art practices have perpetuated that subordination—which is why the history of aesthetics illuminates their work. The more politically-minded artists, especially those who participated in the feminist movement of the 1970s, often turned their art to the goals of freeing women from the oppressions of male-dominated culture. (Examples of such work include the Los Angeles anti-rape performance project of Suzanne Lacy and Leslie Leibowitz, In Mourning and in Rage (1977), and Womanhouse (1972), a collaboration of twenty-four artists.) Feminist artists opened up previously taboo subjects such as menstruation and childbirth for artistic presentation, and they began to employ female body images widely in their work. All of these moves were controversial, including within the feminist community. For example, when Judy Chicago made her large collaborative installation “The Dinner Party” in the early 1970s, she was both praised and criticized for the thematic use of vaginal imagery in the table settings that represented each of thirty-nine famous women from history and legend (Chicago and Lucie-Smith 1999). Critics objected that she was both essentializing women and reducing them to their reproductive parts; admirers praised her transgressive boldness. Since that time, the increasing numbers of artistic portrayals of the female body and its cycles has rendered these subjects less taboo and transgressive, although they remain provocative and sometimes disturbing. Early in his writing of feminist criticism for The Nation, Arthur Danto characterized such work by feminist artists as ‘disturbatory’ (Argüello 2017; Brand Weiser 2021).