Woods marshals Knowles’s use of commonplace materials as a proto-feminist technique for eroding the divisions between public and private, platforming an otherwise invisible home-based and feminine world. But the compulsion to transmute the open-endedness of Knowles’s work into an explicit economy of care speaks to present-day insecurities about practices whose politics are subtle rather than overt.

This book and website proposes a methodology for presenting time-based media that toggles as nimbly between physical and digital formats. It characterizes the cultural conditions that produced intermedia scores and the expanded field of possibilities that arose from their conception.

Abounding with paradisiacal mise en scène and sculptural artificial wombs, Amy Ruhl’s We shall not miss it proposes a feminist social experiment in sexual and reproductive liberation. The installation responds to radical feminist Shulamith Firestone, whose The Dialectic of Sex, performs a gender-based reinterpretation of Marxist theory and advocates female emancipation from procreative servitude.

Documenting an unsanctioned neighborhood outside of Lisbon, it presents an intimate, unsensational portrait nonetheless sharply critical of state neglect.

Spanning poetry both lyric and concrete, The Collected Poems of Mary Ellen Solt suggests a new framing of Solt’s relationship with the materiality and objecthood of language. The collection shows that Solt’s formalist proclivity—her obsession with the thingness of words—predated her concrete work and engaged in verbivocovisual experimentation.