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The Los Angeles art scene in the early 1970s was “incredibly macho,” says Judy Chicago. In order to be able to exist as an artist, women artists had to obliterate all traces of femininity in their work. Otherwise, according to the penetrating experience of the then 30-year-olds, she was considered a craftswoman. The opinion of male “geniuses” that women are not actually capable of art, or at least not capable of creating masterpieces, was expressed quite naturally by the top dogs. And the market filter, which has not died out to this day, according to which women form the majority at the academies, but galleries are primarily interested in men, led to a systematic invisibility of female positions when it came to professional artistry. But in 1972, a project in a derelict Hollywood home started a militant movement against these structures.