1_John Lennon and Yoko Ono, “ RAPE ,” 1968, color film, sound, 59’48 min © Yoko Ono. Courtesy of the artist

1_John Lennon and Yoko Ono, “RAPE,” 1968, color film, sound, 59’48 min © Yoko Ono. Courtesy of the artist

 1_Yoko Ono’s score for “ RAPE ,” 1968 © Yoko Ono. Courtesy of the artist

1_Yoko Ono’s score for “RAPE,” 1968 © Yoko Ono. Courtesy of the artist

 2_Ana Mendieta,  Rape Scene , 1973 (Estate print 2001), suite of five color photographs, 16 x 20 in. each. © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co.

2_Ana Mendieta, Rape Scene, 1973 (Estate print 2001), suite of five color photographs, 16 x 20 in. each. © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co.

 2_Ana Mendieta,  Rape Scene , 1973 (Estate print 2001), one of five color photographs, 16 x 20 in. each. © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co.

2_Ana Mendieta, Rape Scene, 1973 (Estate print 2001), one of five color photographs, 16 x 20 in. each. © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co.

 
 3_Senga Nengudi,  R.S.V.P Revisited - Underwire,  19772004, nylon mesh, metal springs, sand, 22 12 × 15 × 6 in ©19772004. Senga Nengudi. Courtesy of Bernard I. Lumpkin and Carmine D. Boccuzzi

3_Senga Nengudi, R.S.V.P Revisited - Underwire, 19772004, nylon mesh, metal springs, sand, 22 12 × 15 × 6 in ©19772004. Senga Nengudi. Courtesy of Bernard I. Lumpkin and Carmine D. Boccuzzi

 4_Suzanne Lacy,  Three Weeks in May , 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist

4_Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist

 4_Suzanne Lacy,  Three Weeks in May , 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist

4_Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist

 4_Suzanne Lacy, with Melissa Hoffman and Phranc,  Three Weeks in May , 1977, performance documentation. Photograph by Suzanne Lacy

4_Suzanne Lacy, with Melissa Hoffman and Phranc, Three Weeks in May, 1977, performance documentation. Photograph by Suzanne Lacy

 5_Lynn Hershman Leeson,  Electronic Diary Part III First Person Plural , 1988, video (color, sound), 28 min © Lynn Hershman Leeson. Courtesy of the artist and Bridget Donahue, NYC

5_Lynn Hershman Leeson, Electronic Diary Part III First Person Plural, 1988, video (color, sound), 28 min © Lynn Hershman Leeson. Courtesy of the artist and Bridget Donahue, NYC

 6_Carolee Thea,  A Sabine Woman , 1991, chicken wire, electrical wire, sockets, bulbs, sound, dimensions variable ©1991-2018. Carolee Thea. Courtesy of the artist

6_Carolee Thea, A Sabine Woman, 1991, chicken wire, electrical wire, sockets, bulbs, sound, dimensions variable ©1991-2018. Carolee Thea. Courtesy of the artist

 6_Carolee Thea,  A Sabine Woman , 1991, chicken wire, electrical wire, sockets, bulbs, sound, dimensions variable, detail ©1991-2018. Carolee Thea. Courtesy of the artist

6_Carolee Thea, A Sabine Woman, 1991, chicken wire, electrical wire, sockets, bulbs, sound, dimensions variable, detail ©1991-2018. Carolee Thea. Courtesy of the artist

 7_Guerrilla Girls,  If You’re Raped You Might as Well Relax and Enjoy It Because No One Will Believe You , digital print, 18 x 24 in © 1992. Guerrilla Girls

7_Guerrilla Girls, If You’re Raped You Might as Well Relax and Enjoy It Because No One Will Believe You, digital print, 18 x 24 in © 1992. Guerrilla Girls

 Jenny Holzer,  Untitled (Selections from Lustmord) , 1994, cibachrome prints: 14 double images 13 x 20 in., edition 14/20 © Jenny Holzer. Courtesy Artist Rights Society (ARS) and Cheim & Read, New York

Jenny Holzer, Untitled (Selections from Lustmord), 1994, cibachrome prints: 14 double images 13 x 20 in., edition 14/20 © Jenny Holzer. Courtesy Artist Rights Society (ARS) and Cheim & Read, New York

  :  Kathleen Gilje,  Susanna and the Elders, Restored with X-ray , 1998, oil on canvas, 67.5 x 47.5 in, and X-ray, 67 x 47 in © 2018. Kathleen Gilje. Courtesy of artist

: Kathleen Gilje, Susanna and the Elders, Restored with X-ray, 1998, oil on canvas, 67.5 x 47.5 in, and X-ray, 67 x 47 in © 2018. Kathleen Gilje. Courtesy of artist

 Kathleen Gilje,  Susanna and the Elders, Restored , 1998/2018, X-ray image on Arches paper, 52.5 x 36.75 in. © 2018. Kathleen Gilje. Courtesy of artist

Kathleen Gilje, Susanna and the Elders, Restored, 1998/2018, X-ray image on Arches paper, 52.5 x 36.75 in. © 2018. Kathleen Gilje. Courtesy of artist

 Angela Fraleigh,  lonelily loomed into bone , 2011, wig, thistles and porcelain, 17.5 x 13 x 12 in. © 2011/2018. Angela Fraleigh. Courtesy of the Artist and Inman Gallery

Angela Fraleigh, lonelily loomed into bone, 2011, wig, thistles and porcelain, 17.5 x 13 x 12 in. © 2011/2018. Angela Fraleigh. Courtesy of the Artist and Inman Gallery

 
 Natalie Frank,  Little Red Cap II , 2011, gouache and chalk pastel on Arches paper, 30 x 22 in. © 2011. Natalie Frank. Courtesy of Mitch and Sandra Sockett

Natalie Frank, Little Red Cap II, 2011, gouache and chalk pastel on Arches paper, 30 x 22 in. © 2011. Natalie Frank. Courtesy of Mitch and Sandra Sockett

 Jennifer Karady,  Former Specialist Brittny Gillespie, 139th Military Police Company, 16th MP Brigade, U.S. Army, veteran of Operation Iraqi Freedom, with Volunteers of America-Los Angeles Battle Buddy Elizabeth Saucedo and friend Corey; Los Angeles, CA,  from the series,  Soldiers’ Stories from Iraq and Afghanistan,  2014, Chromogenic color print, 48 x 48 in. © 2014. Jennifer Karady. Courtesy of the artist

Jennifer Karady, Former Specialist Brittny Gillespie, 139th Military Police Company, 16th MP Brigade, U.S. Army, veteran of Operation Iraqi Freedom, with Volunteers of America-Los Angeles Battle Buddy Elizabeth Saucedo and friend Corey; Los Angeles, CA, from the series, Soldiers’ Stories from Iraq and Afghanistan, 2014, Chromogenic color print, 48 x 48 in. © 2014. Jennifer Karady. Courtesy of the artist

 Sonya Kelliher-Combs,  Guarded Secrets,  2015, sheep rawhide, nylon thread, porcupine quill, archival adhesive, dims. variable, ©2015. Sonya Kelliher-Combs. Courtesy of the artist

Sonya Kelliher-Combs, Guarded Secrets, 2015, sheep rawhide, nylon thread, porcupine quill, archival adhesive, dims. variable, ©2015. Sonya Kelliher-Combs. Courtesy of the artist

 Sonya Kelliher-Combs,  Guarded Secrets,  2015, sheep rawhide, nylon thread, porcupine quill, archival adhesive, dims. variable, detail ©2015. Sonya Kelliher-Combs. Courtesy of the artist

Sonya Kelliher-Combs, Guarded Secrets, 2015, sheep rawhide, nylon thread, porcupine quill, archival adhesive, dims. variable, detail ©2015. Sonya Kelliher-Combs. Courtesy of the artist

 
 Andrea Bowers,  Rape Wrong (Anonymous Protest, Jefferson County Court House, Steubenville, OH, February 1, 2013) , 2015, colored pencil on paper, 15 x 22.25 in. Courtesy of the artist, Susanne Vielmetter Los Angeles Projects, and Andrew Kreps Gallery, New York

Andrea Bowers, Rape Wrong (Anonymous Protest, Jefferson County Court House, Steubenville, OH, February 1, 2013), 2015, colored pencil on paper, 15 x 22.25 in. Courtesy of the artist, Susanne Vielmetter Los Angeles Projects, and Andrew Kreps Gallery, New York

 Ada Trillo,  Claudia,  from the series  How Did I Get Here? , 2015, archival pigment print, 24 x 16 in. © 2015. Ada Trillo. Courtesy of the artist

Ada Trillo, Claudia, from the series How Did I Get Here?, 2015, archival pigment print, 24 x 16 in. © 2015. Ada Trillo. Courtesy of the artist

 Kara Walker,  Untitled , 2016, graphite on paper, 75 x 37.5 in. © Kara Walker. Courtesy of the artist and Sikkema Jenkins & Co., New York

Kara Walker, Untitled, 2016, graphite on paper, 75 x 37.5 in. © Kara Walker. Courtesy of the artist and Sikkema Jenkins & Co., New York

 Roya Amigh,  The Coerced Contact,  2016, thread, paper, pieces of cloth, lace, 62 x 64 x 35 in. ©2016/2018. Roya Amigh. Courtesy of the artist

Roya Amigh, The Coerced Contact, 2016, thread, paper, pieces of cloth, lace, 62 x 64 x 35 in. ©2016/2018. Roya Amigh. Courtesy of the artist

 
 Roya Amigh,  The Coerced Contact,  2016, thread, paper, pieces of cloth, lace, 62 x 64 x 35 in., detail ©2016/2018. Roya Amigh. Courtesy of the artist

Roya Amigh, The Coerced Contact, 2016, thread, paper, pieces of cloth, lace, 62 x 64 x 35 in., detail ©2016/2018. Roya Amigh. Courtesy of the artist

 Naima Ramos-Chapman,  And Nothing Happened , 2016, color digital film, sound, 16 min ©2016. Naima Ramos-Chapman. Produced by MVMT. Courtesy of the artist

Naima Ramos-Chapman, And Nothing Happened, 2016, color digital film, sound, 16 min ©2016. Naima Ramos-Chapman. Produced by MVMT. Courtesy of the artist

 Bang Geul Han,  Through the Gaps between My Teeth , 2017, generative animation (custom software), charcoal drawing on Stonehenge paper, 72 x 48 in., approx. 60 hrs. ©2017. Bang Geul Han. Courtesy of the artist

Bang Geul Han, Through the Gaps between My Teeth, 2017, generative animation (custom software), charcoal drawing on Stonehenge paper, 72 x 48 in., approx. 60 hrs. ©2017. Bang Geul Han. Courtesy of the artist

 Guerrilla Girls BroadBand,  #GGBBCampus – Stonehill College Poster , 2015, poster, dims. variable © 2015. Guerrilla Girls BroadBand. Courtesy of the artists  NOTE: For  The Un-Heroic Act,  Guerrilla Girls BroadBand will realize a new poster with students of John Jay College of Criminal Justice CUNY

Guerrilla Girls BroadBand, #GGBBCampus – Stonehill College Poster, 2015, poster, dims. variable © 2015. Guerrilla Girls BroadBand. Courtesy of the artists

NOTE: For The Un-Heroic Act, Guerrilla Girls BroadBand will realize a new poster with students of John Jay College of Criminal Justice CUNY