‘The os nd 705 saw dramatic changes nt onlin American social and poi cut btn thea world as well Asai and gender elation were wanagurein the pub ‘phere ineasing nombers atts tom communis that had history een ederep- ‘sated galeries and mescumsbegan to emege. The heigtaned ily of whe samen artists an arts of cle during this prod led to new strates for teaching ass auttencs challenges to conventional distinction between high anélon at adores traditional exclusionary practices of exhibition ‘Valerie Sith ‘Numerous artists, writers, acts, and scholars ave noted thaton bth the pla and attic scenes, black woman found themsalvesina rolematicdeclogcal poston nthe pot ont, black omen eld positonsef prominence and respon the Goiiighs and lack Nationalist moverents Inthe Ci Righs movement for ecanp, omen suchas Ela Baker, Sept lar, Fame Lov Ham Diane Nash, Raby Dngagh Rotts, anJo Ann Gilson Robinson ithe esata but often nacknowidged werkt traning and ongarizng acts and creating and maintaining networks of commune, ‘Teor the most part ther male counterparts prized he eradication of aia neguaives and fale to ackrowiedge ether sexist practices wehin thet ranks othe nents "eationship between patriarchy and acon Likewise figures such as Elaine Broun, Kathleen Cave, Angela Davis, and Asata Shakur \ed Black Nationalist organizations; nevertheles, umetouraccounindeae tan themoveent aswel Black wonenin genta wee relegate the ees ches ‘ndnaton- bung Both the Ci Rights an BlackNatonalt movement peed Powerful presence and voices ofchansmaticmle leaders Ever asblacaworevincees ‘movements proved ther commitment to the struggle agaist white supremacy and fer soa juste, they were expected to capitulate to male acho jgore risopmyenthn ane, ‘organizations and deter thei concern with “womers sues Back feminstshad ong ban among thers theorts and acts to recognize hat ‘ender and race re mutually constttveandinteacking mods of erperiener and saci onstruction, Thus the rejected the raion that a concen for gender derinaon aad detract rom the anti-aism tug Whle some cntinued to werk within the Bace Nationalist movementin the hopes that a true reveltionwould ral ale seater of (hes ead gender othersaffatedthemseveswith the women’s moveret, hoolng {ofind commen cause with white feminists. Their accounts regulary tet ther see ack feminists inthe women’s movement were expaed to gnore wht fens eum and assertions of class privge and countnanceansgnda that ignore thecomsesuone between gender class, andracial oppression Nat supsingly In response seme ck {emis formed ther own organizations or a kimbely Springer has covered, fea thel ‘actvsminsttuonalizedin social services, governmental bodies, higher adaton ‘riateonriecee Aree escmnincnce Cenc tes Rocket herAneca lun oni comnieatgmesiee ereInstitutions and other organizations they could attempt to lfuenc with ntact andant soit dolegy"* Black eminist analyses ans the black feminist movernent emerged aca way of theoricingthe Inextricabilty of vanous modalities of experience sich as ace gende, exalt, and socio. ‘economic status While consierabe attention hasbeen ocued on back women wien «came to prominence during hs pated, such az Toni Cade Barbar, Ti Moron, Ntozake ‘Shange, Ace Walker, and Michele Wale (toname onl fen), comparatively ss attertion ‘hasbeen gvento ther visual-art counterparts? During he 19608 ad os, black emis, visual artists working arangeet media and sys fm, performance at, cole, sala tio, panting, and photography—alzo rok ito word that historcalihad been dominated by white ren, Organized ins, "Where We A” Black Woman Arts (WWW) provided an opportunity fe back women, marginalized by both the predominantly male Black rts Movement (the l- tural and aesthetic coueerparof the Black Power Movernent andthe largely wit feist {and feminist at oganzatons, to share conceme and resources, Although they made a many of WWA's members id not consider themselves profesional att. As Kay rom, 2 ‘sinter, printmaker, and collagst, explained in 3584 panel dscustion held atthe Hatch- Bop Clction n New York Cy "They wee condoned to think that they coulé not ely chev the status ofa profesional arts By providing these women wth aspacein whch they could engage in meaningful substantive conversation and exchange work an ideas, ‘WW helped them gin confidence and eped them to continue Easiyin the history of WN, the art nthe organaationfousedon the dfictesthey faced Intrying to exibi thei work Most gallery owners doubted thatelter lacks er women could Mesmirimcatea neafaony teste nn nema