Social Media post of International Women's Day

Result #1

Social Media post of International Women's Day in March 2003, the artist was asked to create a new piece based on a photograph of a woman. She created a three-dimensional sculpture, Injured She-Wolf, 2004, that is the centerpiece of the show. Injured She-Wolf, which was also included in the show, is a two-dimensional sculpture that was made of wooden beams that are covered with metal bandages. The bands are a symbol of protection and restraint, but also of freedom and of defiance. The bands are also a reminder of the power and freedom of the individual. This piece is not only a political statement on the subject of female subjectivity; it is also a sculptural one, and this is precisely what the artist has done with it. She has cast the metal bars into a posture that is that of a wolf, and she has called attention to the fact that they are animals—a fact that she can no longer avoid.The title of the piece, The She-Wolf, is taken from the nineteenth-century German poet Johann Friedrich Lindauer, who wrote: The wolf is no longer capable of following his master, but can only follow his fear. The wolves fear man, and he cannot escape his fear. The She-Wolf is the mother of wolves. And so it is with Man. Man is the wolf, but the wolf is not the mother of man. Man is the master, but not the one who rules.The artist also comments on the role of the state. She has made a series of drawings based on a photograph of a woman in her house. The drawings show the state as it exists in the social space of the family: the woman is covered in a scarf, and she stands with her hands above her head, with her feet planted on the floor and her hands poised in a gesture that can be interpreted as scared or friendly.

Result #2

, as well as the artist herself as a participant, and a number of other women are at work in all media, reflecting the ever-increasing diversity of the workforce, and of the woman in general. Here, for example, is a woman at work in a hotel lobby, a woman who is rarely seen. She is constantly reflected in the glass walls of the lobby, and she is constantly being photographed. It is as if she were a sort of invisible person, an active participant in the workplace. And yet, somehow, she is also a passive victim, a passive object, a passive vessel of the social space, in which we live. In a work in progress, her presence is already an indication of the time and place of the exhibition, of the museum. And yet, perhaps, it is precisely this reflection on the women in the workplace that gives the work its political and theoretical content.

Result #3

Social Media post of International Women's Day in 2017, a time that the countrys national government deemed as a day of celebration of the close of the U.S.-Mexico border. The artists in her exhibition, who are all from Mexico, used the occasion to propose a feminist model for how to deal with the border issue, one that involves considering the cultural space that is the most urgent challenge to the current dominant discourse and the most sensitive and profound political issue of our time.The artists in this exhibition were all well-known figures from Mexico: Humberto Gómez-Peña, Mira Schendel, María del Carmen Ramírez Sánchez, Maria del Carmen Vera, and Isabel López. Most of them had been involved with political struggle and social change, but they were also, as the title of the exhibition put it, agents of change, and their work was based on a reflection on the ideological and political context of their countries. In Gómez-Peña's case, the artist has always been concerned with the construction of identity in society, as evidenced in her work with the indigenous Zapatista guerrilla group, ZAJ, and in her work with feminist groups. She has also been critical of the power structures that have surrounded women for centuries, and it is this concern that underlies the project of ZAJ, which seeks to build a new society through resistance to authoritarianism and for social change. The Zapatistas achieved their political and social transformation through direct action and education; their movement is recognized as one of the most important chapters in the ongoing struggle for gender equality in Mexico. In her works on paper, Vera Schendel explores the political dimension of writing, which is one of the fundamental means of communication in Mexico. She has been a leader in the fight for a human-rights act called the Right to Write, which was signed by nearly fifty countries.

Result #4

Social Media post of International Women's Day, 1983, and from the experience of a feminist collective in Iran (Proud Mothers of the Iranian Revolution) to the international protests against the death penalty in the United States (The Death Penalty in America, 1984). In the end, these connections are obscured by the fact that there is little contemporary work on the subject. The show contains only a few works by women, and most of them are not as well known as the artists whose contributions were present in the earlier years. As a result, we have the impression that the feminist legacy is just one more thing the artist has to deal with, and the loss of so much of her own work is especially poignant.One of the problems with this exhibition is that the artists who have been foregrounded are also the ones who have been overlooked. In a statement to the effect that I hope this will change, I dont think I have ever seen the quality of work that I had seen in the 60s. The problem is that women artists of the 60s and 70s have not had the chance to be included in the show. (In fact, many of the works in the exhibition are by women artists who have had to be excluded from it because theyve been marginalized by male artists.) The works of women who have been included in the show are not necessarily better than the work of men—sometimes they even seem to be trying to be better than the men. But they are not excluded from the show; they are part of it. I wonder if this exhibition will be reconsidered. The fact that it is held every year, and the curators have chosen to include women as well as men, gives the impression that the show is an open show. I wonder how that will change.One of the women in the show, with whom I have had many conversations, is Barbara Bloom. The subject of her recent book is the importance of images in her work.

Result #5

, a month before the artist was born. Its a big, moving event. Its a women's day, but theres no celebration. Instead, it feels like a big event, a women's day in the sense of a whole people's day. It has to do with a lot of work and a lot of action and emotion. This is the women's day, as much as any other. It is the day when the world is made up of people, not objects. It is also the day when a young woman's body is nothing more than a body—that is, nothing but a body, as is true in the case of many of the women in the photographs. The body is not a thing to be represented, but an event that happens to be happening. Its a moment of transition and loss.