Focus on Woman VI and discuss the Gender.
Woman VI was originally displayed with the other five Woman paintings, Woman I to Woman V. The reason why de Kooning placed these six paintings together as an exhibition is because he wanted to give the audience a sense of women’s changing through all the ages, and to liberate the character of women from a restraining social environment. Because Woman VI is the last one in the Woman series, and it looks more abstract as well as less human. The abstract form of the female figure gained some negative critiques for de Kooning. For example, Clement Greenberg, thought de Kooning had taken a wrong turn with the Woman series, and woman figure should not be painted larger than human size. Much to de Kooning’s surprise, however, the show was a success, not just among many artists but among a public increasingly eager to embrace American painting.   According to Irving Sandler, an art historian who has chronicled the development of postwar American art, it was de Kooning who “was able to continue the grand tradition of Western painting and to deflect it in a new direction, creating an avant-garde style that spoke to our time.” De Kooning represented a new era of the art world in 1950s, and the subject, which is woman, he depicted could also have a new time. To those critics against his Woman series, de Kooning simply responded, “it is all about freedom.”
Mona Lisa probably the best-known painting in the history of art, due to it mystery forms and figure. Only her gaze is fixed on the observer and seems to welcome them to this silent communication. The renaissance book warned women that they should never look directly at a man.  
The motif freedom is one of the reasons that the Carnegie Museum of Art should keep this painting in its possession.  Woman VI highlights the gender problem in 1950s America, just before American Feminist Movement of the 1960s and 1970s.
Woman I Carnegie Museum of Art