THE DINNER PARTY
The Dinner Party installation view, Photo by Donald Woodman
The Dinner Party, an important icon of 1970s feminist art and a milestone in twentieth-century art, comprises a massive ceremonial banquet, arranged on a triangular table. Each of the 39 place settings is rendered in a style to commemorate an important woman from history, and consists of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs based on vulvar and butterfly forms. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table. The piece is on permanent view at the Brooklyn Museum in New York City.
WOMANHOUSE
Judy Chicago, Womanhouse catalog cover from Womanhouse, 1972, Photo courtesy of Through the Flower archives housed at the Penn State University Archives
Womanhouse (January 30 – February 28, 1972) was a feminist art installation and performance space organized by Chicago in collaboration with fellow artist Miriam Schapiro, who co-founded, with Chicago, the California Institute of the Arts Feminist Art Program. The first public exhibition of Feminist Art, Womanhouse included the work of Chicago, Schapiro, their students and women artists from the local community. Chicago and Schapiro encouraged their students to use consciousness-raising techniques to generate the content of the exhibition. Together, the students and professors worked to build an environment where women’s conventional social roles could be shown, exaggerated, and subverted
Only women were allowed to view the exhibition on its first day, after which the exhibition was open to all viewers. During the exhibition's duration, it received approximately 10,000 visitors.
Womanhouse by 
The End: A Meditation on Death and Extinction confronts the painful truth of mortality. Arranged in three parts, the first two focus on the female form as it ages and approaches death. The final section presents the stark reality of the death of ecosystems irreparably damaged by the actions, or inactions, of humans. Chicago's bold, graphic style powerfully communicates the intense emotion she experienced while contemplating her own death as well as the deaths of entire species.
