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The visual language of this series resulted in large-scale warp and weft installations within rural and urban environments—weavings—thus linking Vicuña to the Feminist Art Movement's Pattern and Decoration Movement.
Schor has written frequently on issues of gender representation, including “Backlash and Appropriation,” a chapter of The Power of Feminist Art, 1994, an historical overview of the Feminist movement published by Abrams, “Patrilineage”, 2002, republished in The Feminism and Visual Culture Reader edited by Amelia Jones, and on artists such as Ida Applebroog, Mary Kelly, and Ana Mendieta.
In 1972 Edelson used an image of Leonardo Da Vinci’s mural to create Some Living Women Artists / Last Supper. She used collage to add notable women artist's heads of the men in the painting, which quickly became "one of the most iconic images of the Feminist Art movement." John the Baptist's head was covered by Nancy Graves and Christ by Georgia O'Keefe.