We all know that the female body is a political object — but we seldom acknowledge the women of color who first grappled with that idea. To bring these marginalized voices to the forefront, the Brooklyn Museum’s Elizabeth F. Sackler Center For Feminist Art presents Radical Women: Latin American Art, 1960-1985. This exhibition will honor and explore the contributions of Latin American and Latina women during those 25 years, a period of political and cultural turmoil in many South, Central, and North American nations.
By presenting over 260 works from 15 countries, the exhibit aims to address an “art-historical vacuum,” which the exhibit’s press release notes “has largely excluded Latin American and U.S.-based Latina women artists from the record.”
The artworks in Radical Women can be viewed as heroic acts,” the release continues, “giving voice to generations of women across Latin America and the United States. Proposing both aesthetic and political radicality, the work in the exhibition foregrounds feminist concerns such as bodily autonomy, oppressive social norms, gendered violence, and the environment.”
This exhibit will be open from April 13 to July 22, with special events occurring throughout the four-month period. In the full exhibit, you can check out paintings, photographs, and video from over 120 artists, including Lygia Pape, Ana Mendieta, and Marta Minujín — but here’s a sneak peek of some of their radical, badass, and feminist artwork:
Find out more about the exhibit here.
Gloria Camiruaga, Popsicles (Popsicles). Chile, 1982.
Letícia Parente, Marca Registrada (Trademark). Brazil, 1975.
Marta Minujín, La Destrucción (The Destruction). Argentina, 1963.
Paz Errázuriz, Evelyn (Evelyn). Chile, 1983.
Martha Araújo, Para um corpo nas suas impossibilidades (For a body in its impossibilities). Brazil, 1985.
Ana Vitória Mussi, A arma, (The weapon). Brazil, 1968.
Delia Cancela, Corazon Destrozado (Shattered Heart). Argentina, 1964.
Regina Silveira, Biscoito arte (Art cookie). Brazil, 1976. 
Amelia Toledo, Sorriso do menina (Girl's smile). Brazil, 1976. 
Sonia Gutiérrez, Y con unos lazos me izaron (And they lifted me up with rope). Colombia, 1977.
Sandra Eleta, Edita [la del plumero] (Edita [the one with the feather duster]). Panama, 1977.
Header Photo: Marie Orensanz, Limitada (Limited). Argentina, 1978/2013.
All photos courtesy of The Brooklyn Museum.
More from BUST
8 Subversive Women Artists To Know
This Art Showcase Is Displaying The Intersectionality Of Identity
These Artists Show Us A Terrifying World Without Reproductive Health Access
Victoria Albert is a Boston-born graduate journalism student. She covers reproductive justice, health policy, and feminism, and has written for In These Times and Alternet. She tweets at @victoria_alb3.
