Collection.
Archive of Guerrilla Girls Posters, Press Releases,
Flyers, and Related Ephemera: 1985-2008.
In 1985, a group of seven women, frustrated with the meager representation of female artists in New York City museums, galleries, and art journalism, formed an anonymous advocacy group called the Guerrilla Girls, and soon embarked on a maverick campaign that would have a profound impact on not only the art world they were initially targeting, but on the nature of protest itself.
Utilizing a unique mixture of facts, humor, irreverence, and fearlessness—as well as combative headlines such as “When racism and sexism are no longer fashionable, what will your art collection be worth?” and, most famously, “Do women have to be naked to get into the Met Museum?”—the women created a diverse set of trenchant and visually effective posters, flyers, and other printed material that publicized gender and racial inequality in the fine arts on walls, billboards, and mailboxes throughout New York City. Later, the group would expand its agenda to address issues such as homelessness, rape, education, and abortion rights, both nationally and internationally. The members maintained their anonymity by adopting pseudonyms based on the names dead female artists and donning what would become the group’s trademark gorilla masks to disguise their identities in public.
The archive comprises 141 items from 1985-2008, and includes the majority of the Guerrilla Girls’ posters and flyers, as well as marketing materials, press releases, magazines and books, and newspaper articles.
1. Poster: What Do These Artists Have in Common? 1985.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
A listing of 42 male artists—among them Chuck Close, Richard Serra, Bruce Nauman, and Francisco Clemente—who “allow their work to be shown in galleries that show no more than 10% women artists or none at all.” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 2).
2. Flyer: What Do These Artists Have in Common? 1985.
11 x 8 1/2 inches; photocopy on white stock, recto only; text only.
A flyer-sized version of the above poster.
3. Poster: These Galleries Show No More Than 10% Women Artists or None At All. 1986.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Features a list of twenty New York galleries, among them Leo Castelli, Tony Shafrazi, and the Dia Art Foundation, as well as women-owned enterprises such as Mary Boone, Grace Borgenicht, and Pat Hearn. Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 3).
4. Flyer: These Galleries Show No More Than 10% Women Artists or None At All. 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only; text only.
A flyer-sized version of the above poster.
5. Poster: How Many Women Had One-Person Exhibitions at NYC Museums Last Year? 1986.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Of the four museums listed, the Guggenheim, Metropolitan, and Whitney mounted none, and the Modern only a single exhibition. Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 5).
6. Flyer: How Many Women Had One-Person Exhibitions at NYC Museums Last Year? 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only; text only.
A flyer-sized version of the above poster.
7. Flyer: These Critics Don’t Write Enough About Women Artists. 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only; text only; stamped with the Guerrilla Girls mailing address in bottom quadrant.
The twenty-two critics listed—among them John Russell, Roberta Smith, Hilton Kramer, and John Ashbery—wrote less than 20% of their articles and reviews about art by women, with several—including Dore Ashton, Kim Levin, and Carter Ratcliff—singled out with asterisks as having written about women artists “less than 10% or never.”
8. Poster: John Russell Thinks Things Are Getting Better for Women Artists. 1986.
22 x 17 inches; black screen print on matte white stock, recto only; illustrated with a line graph; folded into quarters.
The poster quotes a 1983 piece by Russell, a critic for the New York Times, who stated it was an established fact that “shows by women artists have been just as rewarding and just as widely remarked as shows by men artists” However, a line graph underneath charting the number of reviews by Times critics between 1981 and 1984 demonstrates instead that the exact opposite occurred; this evidence is accompanied by the printed statement “Guerrilla Girls Thinks He Should Read His Own Paper.” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 6).
9. Flyer: John Russell Thinks Things Are Getting Better for Women Artists. 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only; illustrated with a line graph; stamped with the Guerrilla Girls mailing address lower left corner.
A flyer-sized version of the above poster.
10. Photograph of Poster “John Russell Thinks Things Are Getting Better for Women Artists.” 1986.
5 x 3 1/2 inches; color print.
A color snapshot showing two copies of the above poster glued on site to a wall in New York City.
11. Poster: Women in American Earn Only 2/3 of What Men Do. Women Artists Earn Only 1/3 of What Men Artists Do. 1986.
22 x 17 inches; black screen print on matte white stock, recto only; illustrated with image of one dollar bill; folded into quarters.
An overprinted dotted line dividing the dollar bill at 1/3 its length visually illustrates the headline.
12. Flyer: Women in American Earn Only 2/3 of What Men Do. Women Artists Earn Only 1/3 of What Men Artists Do. 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only; illustrated with image of one dollar bill.
A flyer-sized version of the above poster.
13. Sticker: Women in American Earn Only 2/3 of What Men Do. Women Artists Earn Only 1/3 of What Men Artists Do. 1986.
6 x 4 inches; screen print on sticker stock; illustrated with image of one dollar bill; small strip of clear tape at top edge; lightly tanned overall; backing present but detached.
A sticker version of the above poster.
14. Poster: It’s Even Worse in Europe. 1986.
22 x 17 inches; black screen print on thin matte white stock, recto only; text only; folded into quarters.
Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 8-9), though misdated as being produced in 1989.
15. Poster: Dearest Art Collector. 1986.
Two copies, each 17 x 22 inches, on two different shades of matte pink stock; black screen print of facsimile handwriting, recto only; single line drawing of daisy; folded into quarters.
Written in the form of a letter to an art collector, the poster states that while the group is aware the collector does not have enough art by women, they “know you feel terrible about this and will rectify the situation immediately.” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, inside front cover).
16. Poster: Under Surveillance This Year. 1986.
22 x 17 inches; screen print on matte white stock, black background, recto only; text only; folded into quarters.
A partial listing of thirteen major museum exhibitions by month, with the majority curated by women, among them Lisa Dennison (Guggenheim), Elizabeth Sussman (Boston ICA), and Charlotta Kotik (Brooklyn Museum). Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 10).
17. Poster: Guerrilla Girls Hits List. 1986.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Pays tribute to a list of twenty-eight galleries and critics who “devoted at least 30% of their shows (1984-85) one-person reviews and feature articles (1979-85) to women.” Among the galleries are Paula Cooper, Robert Miller, Pam Adler, and SOHO 20, with writers including Lucy Lippard, Jeff Perrone, Steven Westfall, Barbara Kruger, and John Perreault. Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 11).
18. Flyer: Guerrilla Girls Hits List. 1986.
8 1/2 x 11 inches; photocopy on white stock, recto only.
A flyer-sized version of the above poster.
19. Poster: Hidden Agender/Passing the Bucks. 1986.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Announces two round-table evenings at Cooper Union to discuss gender bias in the art world, sponsored by both the Guerrilla Girls and the student-run Visiting Artists Lecture Series at Cooper. The first event, called “Hidden Agender,” featured art critics Grace Glueck, Gary Indiana, Kay Larson, Carter Ratcliff, and Stephen Westfall, while the second, “Passing the Bucks,” gathered the art dealers Ronald Feldman, Gracie Mansion, Penny Pilkington, Tony Shafrazi, and Holly Solomon. Both were moderated by Carrie Rickie, and held on April 28 and May 2, 1986.
20. Flyer: Hidden Agender/Passing the Bucks. 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only.
A flyer-sized version of the above poster.
21. Poster: Guerrilla Girls’ 1986 Report Card. 1986.
17 x 22 inches; black screen print on matte white stock, recto only, with facsimile handwriting; text only; folded into quarters.
A literal report card comparing the number of women artists shown at seventeen New York art galleries in 1985-86 to those in 1986-87. Of that number, only five showed an increase (Diane Brown, Marian Goodman, Oil & Steel, Tony Shafrazi, and, especially, Edward Thorp), where as two showed even less (Leo Castelli and Marlborough); the others remained the same. Each entry is accompanied by a comment phrased in classic report card language, such as “not paying attention,” “working below capacity,” “lacks initiative,” “failing,” and, in the case of Thorp, “making excellent progress.”
22. Poster: Only 4 Commercial Galleries in N.Y. Show Black Women*. 1986.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
A biting commentary on the lack of representation for black women artists in New York galleries, which also, while commending the four galleries that did exhibit their work—Cavin-Morris, Condeso/Lawler, Bernice Steinbaum, and Shreiber/Cutler—notes in the second header that of those four, only Cavin-Morris showed more than one.
23. Flyer: Only 4 Commercial Galleries in N.Y. Show Black Women*. 1986.
8 1/2 x 11 inches; photocopy on white stock, recto only.
A flyer-sized version of the above poster.
24. Poster: Which Art Mag Was Worst For Women Last Year? 1986.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Lists the top five art world magazines and the percentage of “features, projects, and 1-person show reviews on women artists” that they published from September 1985 through the summer of 1986. Of these, Arts presented the most at 25%, while Flash Art printed the least, at only 13%.
25. Flyer: Which Art Mag Was Worst For Women Last Year? 1986.
8 1/2 x 11 inches; photocopy on white stock, recto only.
A flyer-sized version of the above poster.
26. Poster: Guerrilla Girls Review the Whitney. 1987.
17 x 22 inches; offset on gloss white stock, recto only; yellow background; illustrated with a single black-and-white photograph; folded into quarters.
Poster advertising a month-long Guerrilla Girls exhibition at The Clocktower which took aim at the 1987 Whitney Biennial, protested by the group for its alleged sexism and racism. Illustrated with a photograph of a woman in a gorilla mask pointing at a partially peeled banana.
27. Poster: What’s Fashionable, Prestigious & Tax-Deductible? 1987.
17 x 22 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
The answer to the title question—“Discriminating Against Women & Non-White Artists”—is printed just above a chart listing eight exhibitions and the corporations and foundations which sponsored them, along with the percentages of the artists in the shows who were male and white, neither of which were less than 80%. Two interesting facts included in the information—both of which were clearly intended as not-so-veiled criticisms—were that six of the exhibitions were partially sponsored by the National Endowment for the Arts, and most of the curators were women.
28. Poster: We Sell White Bread. 1988.
22 x 13 inches; black screen print on matte white stock, recto only; illustrated with image of bread slice; folded into quarters.
The group used an image of white bread (“Ingredients: white men, artificial flavorings, preservatives”) to put forth the idea the the current art exhibition scene contained “less than the minimum daily requirement of white women, and non-whites.” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 12).
29. Poster: The Advantages of Being a Woman Artist. 1988.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
An intentionally tongue-firmly-in-cheek list which includes: “Working without the pressure of success”; “Not being stuck in a tenured teaching position”; “Being included in revised versions of art history”; and “Not having to undergo the embarrassment of being called a genius,” among others, with the last being “Getting your picture in the art magazines wearing a gorilla suit.”
30. Flyer: The Advantages of Being a Woman Artist. 1986.
11 x 8 1/2 inches; photocopy on white stock, recto only; text only.
A flyer-sized version of the above poster.
31. Poster: At Last! 1988.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Using as its foundation text from the 1988 Civil Rights Restoration Act which stated “an institution that discriminates in any of its operations will be denied federal funds,” the poster urges women and artists of color “to contact their favorite museums. THEY NEED YOU NOW!” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989).
32. Poster: How Many Works by Women Artists Were in the Andy Warhol and Tremaine Auctions at Sotheby’s? 1988.
22 x 17 inches; two-color offset on matte white stock, recto only; illustrated with image of bananas; folded into quarters.
Appropriating a motif famously used by Warhol on his album cover design for the Velvet Underground and Nico, the group has cleverly used two yellow bananas to form a zero and provide the answer to the title question.
33. Poster: Bus Companies Are More Enlightened Than NYC Art Galleries. 1988.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Presenting statistics from the U.S. Bureau of Labor Statistics and the Art in America Annual, the poster states that while 49.2% of bus drivers, 48% of sales persons, and 43% of managers were women, only 16% of the artists represented by 33 major New York City art galleries were women. Only two professions—truck drivers (8.9%) and welders (4.8%)—had lower percentages, with mail carriers placing slightly ahead at 17.2%. Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, p. 21).
34. Poster: We’ve Encouraged Our Galleries to Show More Women & Artists of Color. Have You? 1989.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
A listing of 52 prominent male artists who requested their galleries expand their representation of women and minorities, among them Claes Oldenburg, Alex Katz, Robert Longo, Vito Acconci, Lawrence Weiner, Sol Lewitt, and John Baldessari.
35. Poster: When Racism & Sexism Are No Longer Fashionable, What Will Your Art Collection Be Worth? 1989.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Positing that “the art market won’t bestow mega-bucks on the work of a few white males forever,” the poster states that for the price of one Jasper Johns of $17.7 million one could have purchased instead at least one work from the following list of 67 women and minority artists, among them Grandma Moses, Vavara Stepanova, Diane Arbus, Hannah Hoch, Frida Kahlo, Elaine de Kooning, Louise Nevelson, Mary Cassatt, and Sonia Delaunay.
36. Poster: Do women have to be naked to get into the Met. Museum? 1989.
28 x 11 inches; offset color on white cardstock, recto only; illustrated with black-and-white composite image; folded in half; lightly bumped at top edge.
Perhaps the group’s most famous poster, utilizing an overprinted collage of Ingres’ nude La Grande Odalisque wearing a gorilla mask to visually illustrate their statement that “less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female.” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, pp. 14-15).
37. Poster: Relax Senator Helms, The Art World Is Your Kind of Place! 1989.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Playing off Republican Senator Jessie Helm’s infamous 1989 attacks of the work Robert Mapplethorpe and Andres Serrano, and, in tandem, the funding of the National Endowment for the Arts, this poster lists the many ways the art world of the period actually reflected Helms’ conservative tastes, including: “The number of blacks at an art opening is about the same as at one of your garden parties”; “Most art collectors, like most successful artists, are white males”; “The sexual imagery in most respected works of art is the expression of wholesome heterosexual males”; and “The majority of exposed penises in major museums belong to the Baby Jesus.”
38. Poster: You’re Seeing Less Than Half the Picture.… 1989.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
The poster visually accentuates its point by printing the title on only the right half, leaving the left half blank but for the continuation of the thought in smaller type underneath: “…Without the Vision of Women Artists and Artists of Color.” Reproduced in New Observations No. 70: Guerrilla Girls (September 1989, pp. 22-23).
39. Poster: Guerrilla Girls’ Identities Exposed! 1990.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Underneath the statement “We’ve signed up to fight discrimination in the art world. Call us Guerrilla Girls” are ten columns listing nearly 500 women who agreed to publicly align themselves with the Guerrilla Girls’ cause.
40. Poster: Guerrilla Girls’ Code of Ethics for Art Museums. 1990.
22 x 17 inches; black screen print on matte white stock, recto only; illustrated with image of stone tablets; folded into quarters.
Using imagery and language related to the biblical Ten Commandments, the poster pointedly comments on an art world seen as insular, corrupt, and exclusionary through a list of ten biting criticisms and suggestions for change, among them: “Thou shalt not give more than 3 retrospectives to any Artist whose Dealer is the brother of the Chief Curator”; “Thou shalt provide lavish funerals for Women and Artists of Color who thou plinth to exhibit only after their Death”; “Thou shalt keep Curatorial salaries so low that Curators must be Independently Wealthy, or willing to engage in Insider Trading”; and “The Corporate Benefactors who earn their income from products for Women and Artists of Color shall earmark their Museum donations for exhibits and acquisitions of art by those Groups.”
41. Flyer: Guerrilla Girls’ Code of Ethics for Art Museums. 1990.
11 x 8 1/2 inches; offset on white stock, recto only; text only.
A flyer-sized version of the above poster.
42. Poster: Guerrilla Girls’ Pop Quiz. 1990.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Q: If February is Black History Month and March is Women’s History Month, what happens the rest of the year?
A: Discrimination.
43. Poster: Guerrilla Girls’ Definition of a Hypocrite. 1990.
22 x 17 inches; black screen print on matte white stock, recto only; folded into quarters.
Held within an amorphous gray shape is the answer: “An art collector who buys white male art at benefits for liberal causes, but never buys art by women or artists of color.”
44. Poster: George Bush, “The Education President.” 1991.
22 x 17 inches; offset on matte white stock, recto only; illustrated with black-and-white photographic montage; folded into quarters.
A poster implicitly insinuating that President George H.W. Bush’s lack of a “real policy for public education” was instead a scheme to gain more soldiers for his wars, as left without any meaningful choice, “many poor Americans join the Army to get an education and a better life.” This point, and its deadly outcome, is graphically emphasized by a montage of graduation caps on military grave stones.
45. Flyer: George Bush, “The Education President.” 1991.
11 x 8 1/2 inches; offset on white stock, recto only; illustrated with black-and-white photographic montage.
A flyer-sized version of the above poster.
46. Poster: Did She Risk Her Life for Governments That Enslave Women? 1991.
17 x 22 inches; offset on matte white stock, recto only; illustrated with black-and-white photograph; folded into quarters.
Created at the time of the first Gulf War—where for the first time women were actively involved in combat situations—the poster comments on the repressed political and cultural position of women in many of the Middle Eastern nations American troops were there to protect, in particular Saudi Arabia.
47. Flyer: Did She Risk Her Life for Governments That Enslave Women? 1991.
8 1/2 x 11 inches; offset on matte white stock, recto only; illustrated with black-and-white photograph.
A flyer-sized version of the above poster.
48. Poster: Montgomery, Alabama 1955? 1991.
22 x 17 inches; black screen print on matte white stock, recto only; folded into quarters.
The poster criticizes Army directives to female soldiers in Saudi Arabia (“Expect to ride in the back of public busses; Expect to be excluded from some stores”) by directly comparing them to the situation of Southern African-Americans in 1955.
49. Flyer: Montgomery, Alabama 1955? 1991.
11 x 8 1/2 inches; black screen print on matte white stock, recto only.
A flyer-sized version of the above poster.
50. Poster: Missing in Action. 1991.
22 x 17 inches; black and red screen print on matte white stock, recto only; folded into quarters.
A overtly political poster that expands the group’s mission from advocating exclusively for women and minorities in the art world to a broader agenda focused on universal health and environmental issues. Among the points raised here are national health care; a cure for AIDS; childcare and education for everyone; an alternative energy policy; and an end to poverty and homelessness.
51. Flyer: Missing in Action. 1991.
11 x 8 1/2 inches; black and red screen print on matte white stock, recto only.
A flyer-sized version of the above poster.
52. Typed Letter. 1991.
4to.; photocopy of typed letter on Guerrilla Girls letterhead; signature is image of lips; recto only.
Originally enclosed with small versions of the group’s recent posters about the Gulf War, the letter urges the recipient to republish them and “put them up where you live. …Get some wallpaper paste (add water) and some big, cheap brushes, and put them up where people can see them.” They close with an alternative action: “Or make your own. Ideas are free.”
53. Poster: These Are the Most Bigoted Galleries in New York. 1991.
17 x 22 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
A chart of eighteen galleries that between 1989-1990 showed “the fewest women and artists of color,” with relevant numbers for each. Included is Leo Castelli (0; 0), Marian Goodman (2; 0), Knoedler (1; 0), Pace (3; 1), Holly Solomon (3; 1), and Tony Shafrazi (0; 1).
54. Poster: Q: What’s the Difference Between a Prisoner of War and a Homeless Person? 1991.
17 x 22 inches; offset black and green print on matte white stock, recto only; illustrated with a black-and-white photograph; folded into quarters.
Underneath an image of a policeman prodding the foot of a homeless man sleeping on a bench with his nightstick is the answer: “Under the Geneva Convention, a prisoner of war is entitled to food, shelter and medical care.”
55. Flyer: Q: What’s the Difference Between a Prisoner of War and a Homeless Person? 1991.
8 1/2 x 11 inches; offset black and green print on matte white stock, recto only; illustrated with a black-and-white photograph.
A flyer-sized version of the above poster.
56. Poster: Dear Uncle Sam. 1991.
17 x 22 inches; black and red offset print on matte white stock, recto only; folded into quarters.
Over a black background with repeating lines of “250,000” in red is a pointed mock letter commenting on the perceived blood and war lust of the American populace:
Dear Uncle Sam and the News Media,
The way we won the WAR was BLAST, but compared to Rambo or even Vietnam, it was a REAL SNORE. What I like about war IS ACTION – – seeing BLOOD AND GUTS! Come on, man, 250,000 PEOPLE GOT BLOWN AWAY! Why couldn’t we see the PIECES???
Next time we get to KICK ASS, you’d better show some COLLATERAL DAMAGE, or else DON’T HOG PRIME TIME!!!!!!
Yours,
A REAL American
57. Flyer: Dear Uncle Sam. 1991.
8 1/2 x 11 inches; black and red offset print on matte white stock, recto only.
A flyer-sized version of the above poster.
58. Printed Paper Bag. c. 1992.
11 x 15 inches; screen print on white paper back; black-and-white illustration of a gorilla on recto; text only on verso; bottom edge open, serrated edge; top sealed; very light tanning along right edge.
Opening line of text: What’s new and happening at the Guggenheim for the discriminating art lover? Bag created and given away to be worn over the head as a mask.
59. Poster: Supreme Court Justice Supports Right to Privacy for Gays and Lesbians. 1992.
22 x 17 inches; offset on matte white stock, recto only; illustrated with black-and-white photograph; folded into quarters.
The poster uses a quote from Supreme Court Justice Clarence Thomas that “what goes on in the most intimate parts of my private life or the sanctity of my bedroom… are the most intimate parts of my privacy and will remain just that” to announce Thomas’ “support” for the same privacy rights for homosexuals, who were not granted them in all states at that time.
60. Flyer: Supreme Court Justice Supports Right to Privacy for Gays and Lesbians. 1992.
8 1/2 x 11 inches; offset on matte white stock, recto only; illustrated with black-and-white photograph.
A flyer-sized version of the above poster.
61. Poster: Guerrilla Girls Demand a Return to Traditional Values on Abortion. 1992.
22 x 17 inches; black screen print on matte white stock, recto only; text only; folded into quarters.
Attacks the Republican Party’s call for “traditional values” on the issue of abortion rights through the facts that in the 19th century abortion was legal in the first few months of pregnancy, and that it was not forbidden by the Catholic Church until 1869.
62. Poster: Republicans Do Believe In a Woman’s Right to Control Her Body! 1992.
22 x 17 inches; offset on matte white stock, recto only; illustrated with black-and-white photographs and line drawings; folded into quarters.
Uses images of breast implants, nose jobs, face lifts, liposuction, eating disorders, and clitorectomies— as well as photographs of Nancy Reagan and Betty Ford—to confront the seeming hypocrisy of the Republican Party’s stand against abortion rights, which had been framed by pro-choice advocates as a woman’s right to control her body.
63. Flyer: Republicans Do Believe In a Woman’s Right to Control Her Body! 1992.
11 x 8 1/2 inches; photocopy on matte white stock, recto only; illustrated with black-and-white photographs and line drawings.
A flyer-sized version of the above poster.
64. Flyer: If You’re Raped, You Might As Well “Relax and Enjoy It,” Because No One Will Believe You. 1992.
11 x 8 1/2 inches; photocopy on matte white stock, recto only; illustrated with black-and-white photographs.
States that in 1988, “of the estimated 185,000 rapes in the U.S., there were only 39,160 arrests, resulting in 15,700 convictions.”
65. Poster: What I Want for Mother’s Day. 1992.
17 x 22 inches; offset on thin matte pink stock, recto only; line illustration of a heart; folded into quarters.
Placed within a line drawing of a heart: “I don’t want candy I don’t want flowers. I want a lease and keys.” Created in partnership with the Artists & Homeless Collaborative.
66. Flyer: What I Want for Mother’s Day. 1992.
8 1/2 x 11 inches; photocopy on matte white stock, recto only; line illustration of a heart.
A flyer-sized version of the above poster.
67. Poster: “I’ve Begged.” 1992.
17 x 22 inches; offset on thin matte yellow stock, recto only; folded into quarters.
Uses a quote from a resident of a New York City women’s shelter to illustrate both the difficulties the homeless had obtaining food and the cruelty of others. Created in partnership with the Artists & Homeless Collaborative; second in the series.
68. Flyer: “I’ve Begged.” 1992.
8 1/2 x 11 inches; photocopy on matte white stock, recto only.
A flyer-sized version of the above poster.
69. Poster: “I Can Survive on the Street.” 1992.
17 x 22 inches; offset on thin matte blue stock, recto only; folded into quarters.
A resident of a New York City women’s shelter states that while she knows where to get clothes and a hot meal, she “can’t live on the street because MEN RAPE ME.” Created in partnership with the Artists & Homeless Collaborative; third in the series.
70. Flyer: “I Can Survive on the Street.” 1992.
8 1/2 x 11 inches; photocopy on matte white stock, recto only.
A flyer-sized version of the above poster.
71. Poster: How Long Did It Take to Loot South Central L.A.? 1992.
22 x 17 inches; black offset print on thin matte white stock, recto only; folded into quarters.
Confronts racial and economic discrimination and political neglect through the use of a multiple choice exam entitled “Guerrilla Girls Social Studies Quiz,” with three possible answers: A. 81 seconds (Length of videotaped beating of Rodney King); B. 72 hours (Length of L.A. riots); C. 12 years (Length of Reagan-Bush administrations).
72. Poster: Hold On To Your Wallets! Cross Your Legs! 1992.
22 x 17 inches; black offset print on thin matte white stock, recto only; folded into quarters.
Underneath a subhead stating “These white men have been videotaped looting your neighborhood” is a list of fourteen conservative Republican politicians, justices, corporate executives, and religious leaders.
73. Flyer: Hold On To Your Wallets! Cross Your Legs! 1992.
11 x 8 1/2 inches; photocopy on matte white stock, recto only.
A flyer-sized version of the above poster.
74. Poster: You’re Not Seeing the Whole Picture. 1993.
22 x 17 inches; black offset print on gloss white stock, recto only; illustrated with black-and-white photograph; folded into quarters.
A poster inviting viewers to protest the “virtual exclusion of minority and women artists in ‘American Art of the 20th Century’” on May 7th at the Martin Gropius-Bau, using as a mask the image of a costume gorilla head on the left side of the poster (instructions printed below image and at sides).
75. Poster: Guerrilla Girls Urge Drastic N.E.A. Cuts! 1993.
22 x 17 inches; black offset print on thin matte white stock, recto only; illustrated with black-and-white photographs of knives; folded into quarters.
In response to Senator Jesse Helms’ attacks on National Endowment for the Arts funding after viewing explicit work by Robert Mapplethorpe, the group humorously suggests that male artists—“Since you guys got us into this mess”—send their penises to Helms with a note saying “You won’t seen any more of these in art, because there aren’t any more in the art world!” While they acknowledge “It’s not easy handing your reproduction organs over to the federal government,” they nod to the ongoing women’s reproductive rights battle by stating “…take it from us girls, you’ll get used to it!”
76. Poster: Guerrilla Girls Explain the Concept of Natural Law. 1993.
17 x 11 inches; color offset print on gloss stock, recto only; illustrated with color drawing; folded in half.
A seven-point satirical attack on conservative Republican policies, including: “The people with the most money are entitled to the best health care”; “Women are paid less in the workplace because they have no business being there”; and “Anyone who is unemployed or homeless deserves it.”
77. Poster: How Many White Male Geniuses Employ Undocumented Childcare Workers? 1993.
22 x 17 inches; black offset print on thin matte white stock, recto only; folded into quarters.
A second “Pop Quiz,” this in response to the Zöe Baird “Nannygate” controversy, with the possible answers being: A. None of your goddamn business; B. Same as the number of U.S. senators; C. Those who have wives to take the blame.
78. Flyer: Invisible Women. 1993.
11 x 8 1/2 inches; photocopy on matte white stock, recto only.
Protests the new edition of H.W. Jansen’s standard art history textbook History of Art, which included 19 women artists as opposed to 2,300 male artists. As comparison, the ratio for the original edition is also listed: 0 women and 3,000 men.
79. Flyer: Until Feminism Has Achieved Its Goals, There Is No Post-Feminism. 1993.
11 x 8 1/2 inches; photocopy on matte white stock, recto only.
80. Flyer: Guerrilla Girls Go Back to the Jungle. 1993.
8 1/2 x 11 inches; photocopy on matte white stock, recto and verso; illustrated with black-and-white photograph on the verso.
An ersatz “retirement announcement,” stating that since the “socially responsible, multi-cultural art world of the 1990s” had “met” the seven demands listed underneath—the first being “All museums and galleries have publicly apologized for years of discrimination”—the group no longer had a purpose and could return to life in the jungle. The photograph on the verso depicts a woman in a gorilla costume having cocktails with two scantily clad men in a leafy glade.
81. Flyer: The Guggenheim Transformed 4 Decades of Sculpture By Excluding Women Artists. 1993.
8 1/2 x 11 inches; photocopy on matte white stock, recto only.
“Only 5 of the 58 artists chosen by Diane Waldman for ‘Transformations in Sculpture: 4 Decades of European and American Art’ are women.”
82. Flyer: Dearest Viewer. 1993.
8 1/2 x 11 inches; photocopy on matte pink stock, recto only.
An open letter, written in facsimile autograph:
We’ve really gone apeshit at Amy Harrison’s portrayal of us as Gorillas instead of Guerrillas. And we’d like to thank her for showing us how to raise money using other people’s reputations.
Love,
Guerrilla Girls
P.S. We wish the disclaimer had been bigger.
83. Flyer: We’ll Show You Ours If You Let Them Show Us Theirs. 1993.
11 x 8 1/2 inches; photocopy on matte white stock, recto only.
“Stop the Embargo of Nicaraguan Art.”
84. Poster: Hormone Imbalance. Melanin Deficiency. 1993.
11 x 17 inches; photocopy on thin matte white stock, recto only; illustrated with black-and-white image; folded in half.
A response to the October 1993 New York Times Magazine cover story “Arnold Glimcher and His Art World All-Stars,” which only featured white male artists.
85. Flyer: Traditional Values and Quality Return to the Whitey Museum. 1993.
11 x 8 1/2 inches; photocopy on matte white stock, recto only; two vertical creases.
A series of three graphs demonstrating how the percentages of female and minority artists exhibited at the 1995 Whitney Biennial had decreased from the numbers in 1993, where significant increases had been recorded from the one two years prior, in particular for artists of color. The vast majority of artists shown in all three years were white males.
86. Flyer: The Token Times Classified. 1993.
8 1/2 x 11 inches; photocopy on matte white stock, recto only; image of torn sheet of paper; two horizontal creases.
A mock newspaper help wanted section for art world jobs, satirically illustrating the difficulties women and minorities faced in securing adequate jobs and exhibition opportunities in the field.
87. Fundraising Letter. June 1, 1985.
4to.; 2 leaves; photocopies, both on Guerrilla Girls letterhead; illustrated with black-and-white photographs; stapled upper left corner.
A fundraising appeal featuring two images of early posters, with the second leaf a reproduction of a Village Voice article on the group that mentions those posters.
88. Reception Invitation. 1965.
3 1/2 x 7 inches; purple text on card stock, recto only.
An invitation to a reception for an exhibition held by the group at the Palladium night club that would “forever put to rest the following notions: Biology is destiny; There are no great women artists; ‘It’s the men now who are emotional and intuitive’; and Only men can show at the Palladium.”
89. Postcard: Guerrilla Girls Quiz. c. 1985-86
4 5/8 x 3 1/4 inches; mimeograph on pink card stock, recto and verso; text only.
90. Membership Appeal Letter. c. 1985-86.
4to.; one leaf; photocopy on Guerrilla Girls letterhead; one black-and-white illustration.
For contributions of $10, one would receive a “handsigned, limited edition MEMBERSHIP CARD”; for $25, a contributor would also receive “a full-sized copy four NEW YORK TIMES poster with the memorable words of its CHIEF ART CRITIC.”
91. Press Packet. c. 1986
All 4to.; photocopies on white stock.
Contents:
— Typed Letter: Enclosed please find…. One leaf; typed; on Guerilla Girls stationery.
— Guerilla Girls: Background and Accomplishments. One leaf; typed.
— Guerrilla Girls Review the Whitney: The Banana Report. Eight leaves; typed; illustrated with graphs and charts; stapled upper left corner.
— Poster Samples. One leaf; illustrated with six images of posters.
92. Speakeasy. New Art Examiner: March 1986.
4to.; one leaf; photocopy on white stock, recto only; illustrated with black-and-white image.
Reprint of a piece written by seven members of the group that appeared in the March 1986 issue of the New Art Examiner.
93. Typed Letter Signed. April 11, 1986.
4to.; one leaf; photocopy on Guerrilla Girls stationery, recto only.
An invitation to attend two panels the group was sponsoring in conjunction with the Visiting Artists Program of Cooper Union in the school’s Great Hall on April 28 and May 2, 1986, the first on gender bias in art criticism, the second on bias in art galleries.
94. Press Release. April 1986.
4to.; two leaves; photocopies on Guerrilla Girls stationery, rectos only; stapled upper left corner.
A press release about the two Cooper Union gender bias discussion panels.
95. Flyer: Role Models? c. 1986-87.
11 x 8 1/2 inches; photocopy on matte white stock, recto only; central vertical crease; edges lightly bumped.
Issued by the offshoot Guerrilla Girls West, based in San Francisco, decrying that while 90% of art models and 65% of art students were women, only 20% of art faculty were.
96. Advertisement: Only 4 Commercial Galleries in N.Y. Show Black Women*. Arts Magazine, Vol. 61, no. 5. January 1987.
4to.; offset on gloss white stock.
A version of the larger poster above printed as a full-page advertisement in the January 1987 issue of Arts Magazine.
97. Business Card: Why in 1987 Is Documenta 95% White and 83% Male? 1987.
3 1/2 x 2 inches; one color offset on white cardstock, recto onlh.
A handout in the form of a traditional business card.
98. Postcard: Guerrilla Girls + ________. c. 1988.
5 1/2 x 3 1/2 inches; screen print and mimeograph on white card stock, recto and verso; illustrated with red heart.
A mail-in postcard whereby a name could be written inside the heart for feature on a future Guerrilla Girls poster, most likely the “Guerrilla Girls’ Identities Exposed!” eventually issued in 1990. Return address for the group printed on verso.
99. Sticker: We Sell White Bread. 1988.
5 1/4 x 3 1/4 inches; black offset on white sticker stock, recto only; printed peel-off paper on verso.
A sticker version of the larger 1988 poster.
100. Mailer: Guerrilla Girls Speak Back to the Whitney. 1987.
Oblong 8vo.; two color offset on gloss white card stock; printed recto and verso; illustrated with black-and-white and one-color photographs; typed mailing label on verso.
An informational mailer for the group’s 1987 exhibition at the Clocktower, running from April 16 until May 17, with additional listings for coordinated readings and studio visits.
101. Postcard: The Advantages of Being a Woman Artist. c. 1988.
6 x 4 1/4 inches; black offset on gloss white card stock; printed recto and verso.
A commercial postcard featuring a reprint of one of the group’s posters on the recto, with a brief write-up and contact information on the verso.
102. New Observations: Guerrilla Girls. No. 70. September 1989.
4to.; illustrated throughout with black-and-white images; staple bound; pictorial wrappers.
In September 1989, New Observations magazine dedicated its entire issue to the Guerrilla Girls, featuring reprints of 23 of the groups early posters.
103. Holiday Card. c. 1989.
5 x 7 inches; bifoliate; black offset on gloss white card stock; printed recto and verso; illustrated with black-and-white photograph. With matching red envelope.
A holiday card featuring an image of a member wearing the trademark gorilla mask and a Santa hat, writing out a list. The interior message reads: “We know if you’ve been naughty or nice.”
104. Postcard: I Will Look at Things I Don’t Want to See. 1990.
5 x 7 inches; black offset on gloss white card stock; printed recto and verso; illustrated with a black-and-white photograph.
Produced by the Public Art Fund, this postcard depicts the Guerrilla Girls’ 1990 light board in Times Square, the subtitle of which was “A New Year’s Resolution for the 90s.”
105. Postcard: Guerrilla Girls: Eye of the Beholder Lecture Series. 1990.
4 x 6 inches; black offset on textured gray card stock; printed recto and verso; illustrated with a black-and-white photograph.
Issued by the Gardner Museum in Boston to advertise the group’s appearance as part of the museum’s ongoing lecture series.
106. Poster: Guerrilla Girls: VI Arbetar för Livet. Stockholm. 1990.
26 1/2 x 36 1/4 inches; black offset on semi-matte white stock; recto only; illustrated with a black-and-white photograph; folded into ninths.
Poster for a 1990 Guerrilla Girls exhibition in Stockholm, featuring a woman in a gorilla mask flexing her bicep.
107. Poster: Guerrilla Girls: VI Arbetar för Livet. Stockholm. 1990.
26 1/2 x 36 1/4 inches; black offset on light yellow matte recycled stock; recto only; illustrated with a black-and-white photograph; folded into ninths.
Alternate version of poster for the 1990 Guerrilla Girls exhibition in Stockholm, featuring a woman in a gorilla mask and black evening gown looking back over her shoulder.
108. Newspaper article: Smith, Roberta. “Waging Guerrilla Warfare Against the Art World.” New York Times. June 17, 1990.
109. Postcard: Peace on Earth, Goodwill Toward Women. 1990.
4 1/4 x 6 1/4 inches; two-color offset on gloss white card stock; printed recto and verso; illustrated with a black-and-white photograph.
A holiday postcard featuring a Guerrilla Girl sitting on the lap of Santa, whose suit has been colored red.
110. Press Release. February 7, 1991.
4to.; one leaf, printed recto and verso, on Public Art Fund stationery.
A press release about the Guerrilla Girls’ 1991 city-wide billboard project, sponsored by the Public Art Fund as the last in their PSA: Public Service Art exhibition series.
111. Postcard: The Public Art Fund present PSA: Public Service Art. 1991.
9 1/4 x 5 inches; color offset on gloss white card stock; printed recto and verso; verso one-color only; illustrated with a color photograph.
A mailer by the Public Art Fund promoting the Guerrilla Girls’ 1991 billboard project, showing one of those billboards—“First They Want to Take Away a Woman’s Right to Choose”—in place on a Manhattan rooftop site.
112. Poster: Guerrilla Girls Take Aim. Wichita State University. 1991.
11 x 17 inches; black offset on gray matte cardstock; recto only; illustrated with a black-and-white drawing; folded in half, with light additional horizontal creases.
Poster for the video/lecture/discussion event with the Guerrilla Girls on the Wichita State campus, sponsored by the WSU School of Art and Design and the Center for Women’s Studies.
113. Exhibition List and Bibliography. 1992.
4to.; five leaves, photocopies; first leaf on Guerrilla Girls stationery, rectos only; stapled upper left corner.
From 1985-1992.
114. Postcard: Guerrilla Girls Talk Back. 1992.
8 x 5 inches; two-color offset on gloss white card stock; printed recto and verso; verso one-color only; illustrated with a duotone photograph.
A mailer from the Richard Nelson Gallery promoting a retrospective of the Guerrilla Girls’ first five years. In a nod to the role of Paris in art history, the recto photograph depicts two “gorillas” in berets chatting in classic cane cafe chairs.
115. Poster: Guerrilla Girls: Das Gewissen der Kunstwelt. Innsbruck, Austria. 1992.
27 1/2 x 15 inches; fluorescent two-color offset on gloss white stock, recto only; illustrated with duotone photograph; folded in thirds.
Poster for a 1992 Guerrilla Girls exhibition at Utopia in Innsbruck, Austria.
116. Postcard: Q: What’s the Difference Between a Prisoner of War and a Homeless Person? 1992.
4 1/2 x 6 inches; black offset on gloss white card stock; printed recto and verso; illustrated with a black-and-white photograph.
A postcard version of the above poster.
117. Hot Flashes. Volume 1, no. 1. 1993.
Folio; one bifoliate leaf; black offset on white stock, printed recto and verso; illustrated with black-and-white photographs, drawings, and charts.
The premier issue of the group’s newsletter, headlined “Guerrilla Girls Probe the New York Times.”
118. Hot Flashes. Volume 1, no.’s 2 and 3. 1994.
Folio; 8 pp; black offset on white stock, printed recto and verso; illustrated with black-and-white photographs, drawings, and charts; one central horizontal fold.
The second publication of the group’s newsletter, a double issue, headlined “Guerrilla Girls Predict That Museums in the East Will Have a White Male Winter. And a White Male Spring, Summer, & Fall.”
119. Flyer: Sorry Sweetie. 1993.
8 1/2 x 11 inches; photocopy on blue stock, printed recto and verso; illustrated with black-and-white photographs.
A double-sided flyer, with the recto listing the small percentages of women in 28 university art departments, and the verso the large percentages of male professors in those same departments. A line at the bottom states “Many of these schools are interviewing for faculty positions this year at the CAA conference. All but 2 have a majority of female students.”
120. Press Release. School of Visual Arts. c. 1993.
4to.; one leaf, recto only; photocopy on School of Visual Arts stationery.
A press release for an SVA-sponsored program titled “Guerrilla Girls: Conscience of the Art World.”
121. Press Release: Guerrilla Girls Bear All. Printed Matter. c. 1995.
4to.; one leaf, recto only; photocopy on Printed Matter stationery.
A press release for Printed Matter’s exhibition/benefit, “Guerrilla Girls Bear All.”
122. Postcard: Guerrilla Girls Bear All. Printed Matter. c. 1995.
5 1/2 x 3 1/4 inches; black offset on white cardstock, printed recto and verso; printed mailing label o verso; franked.
An invitation for the January 6, 1995 opening of Printed Matter’s exhibition/benefit, “Guerrilla Girls Bear All,” to “promote future activities and help them keep up the good work.”
123. Fundraising Letter. 1995.
4to.; one leaf; photocopy, on Guerrilla Girls letterhead, recto only; illustrated with black-and-white photograph; with franked envelope.
A fundraising appeal on the occasion of the beginning of the group’s second decade, declaring “Newt, Bob, and the Christian Coalition…there’s important work for us to do.”
124. Postcard: Come Growl with the Guerrilla Girls. 1995.
6 x 4 1/4 inches; black offset on white cardstock, printed recto and verso; printed mailing label o verso; franked.
An invitation to an April 22, 1995 reception at the New Museum for Contemporary Art celebrating the group’s new book, Confessions of the Guerrilla Girls.
125. Flyer: You Gotta Play to Win. 1996.
4 x 3 inches; two-color offset on white cardstock, printed recto and verso; recto printed on silver background.
A political election year piece, created to mimic a lottery ticket, comparing the prize the Republicans offered—No immigrants except really wealthy ones; No increase in minimum wage; No affirmative action; No abortion unless you can afford the trip to Europe—with that of the Guerrilla Girls—All-female Supreme Court, Joint Chiefs, and Cabinet; Gay and Gleeful Marriage for all; Defense funding to the NEA; and Childcare, healthcare, and abortion rights, among others. Verso in Spanish.
126. Flyer: Guerrilla Girls. 1996.
8 1/2 x 13 inches; black photocopy on white stock, recto only; illustrated with black-and-white photograph; three horizontal folds.
A flyer advertising a Guerrilla Girls event at the Vogue Theatre, featuring a quote about the group by Gloria Steinem.
127. Call to Action Letter and Postcards. 1997.
4to.; one leaf; photocopy, on Guerrilla Girls letterhead, recto only; illustrated with black-and-white photograph; two postcards attached to left margin with staple: both 6 x 4 1/2 inches; offset on pink cardstock, printed recto and verso; illustrated with black-and-white photograph.
A letter (“Dear Guerrilla Girl or Baboon Boy”) asking the recipient to mail the two attached postcards to MoMA curator Margit Rowell, who had “selected only 3 white women, 1 woman of color, and no men of color” for her upcoming exhibition, “Object of Desire: The Modern Still Life.” It further encourages the postcards be xeroxed and distributed to others for additional impact, stating “the last time we did an action like this, Louise Bourgeois was miraculously added to a 3 guy show at the Guggenheim.”
128. Postcard: 3 White Women, 1 Woman of Color, and No Men of Color—Out of 71 Artists? 1997.
6 x 4 1/2 inches; offset on pink cardstock, printed recto and verso; illustrated with black-and-white photograph.
An additional copy of the postcard issued above.
129. Flyer: The Guerrilla Girls. Barnes & Noble. 1997.
5 1/2 x 8 1/2 inches; two-color offset on white stock, recto only; illustrated with black-and-white photograph.
A flyer promoting an appearance by the Guerrilla Girls—their first in two years—at Barnes & Noble’s Astor Place store to promote their new book, The Guerrilla Girls’ Bedside Companion to the History of Western Art.
130. Flyer: The Guerrilla Girls Are Coming. Barnes & Noble. 1997.
8 1/2 x 11 inches; photocopy on white stock, recto only; illustrated with black-and-white photograph.
A posting flyer promoting the Guerrilla Girls appearance at the Astor Place Barnes & Noble.
131. Flyer: Laugh for a Good Cause with Live Masked Girls! 2001.
8 1/2 x 11 inches; photocopy on pink stock, recto only; illustrated with black-and-white photograph; with matching franked mailing envelope.
An invitation to a December 16th event featuring “top Girl Comics from HBO, Comedy Central, and MTV” to benefit Guerrilla Girls Theatre and GuerrillaGirlsBroadBand.
132. Newspaper article: Hoban, Phoebe. “Masks in Place, but Firmly in the Mainstream.” New York Times. January 4, 2004.
133. Postcard: The Guerrilla Girls’ Art Museum Activity Book. Printed Matter. 2004.
6 x 4 inches; color offset on white cardstock, printed recto and verso; verso one-color only; printed mailing label on verso; franked.
An invitation to the November 11, 2004 book launch and exhibition opening at Printed Matter for The Guerrilla Girls’ Art Museum Activity Book.
134. Book: Guerrilla Girls. The Guerrilla Girls’ Art Museum Activity Book. New York: Printed Matter, 2004.
4to.; 16pp; illustrated throughout with black-and-white photographs and drawings; staple bound; pictorial color wrappers.
135. Press Release: Book Launch for The Guerrilla Girls’ Art Museum Activity Book. Printed Matter. October 25, 2004.
4to.; one leaf, recto only; photocopy on Printed Matter stationery.
A press release for Printed Matter’s November 11, 2004, book launch and exhibition opening for The Guerrilla Girls’ Art Museum Activity Book.
136. Printout: The Guerrilla Girls Website.
4to.; 24 pp; rectos only; printout on white copy paper.
A printout of contents from the Guerrialla Girls’ website, including the complete interview from their first book, Confessions of the Guerrilla Girls, in which the members took on the names of famous women artists, among them Lee Krasner, Frido Kahlo, Zora Neale Hurston, and Alice Neel.
137. Printout: Hot Flashes: The Dish on Discrimination.
4to.; 25 pp; rectos only; printout on white copy paper.
A printout of Hot Flashes from 2001-2004 off the Guerrilla Girls’ website. Accessed October 25, 2004.
138. Printout: Bitches, Bimbos, and Ballbreakers.
4to.; 2 pp; rectos only; printout on white copy paper.
A printout about Bitches, Bimbos, and Ballbreakers from the Guerrilla Girls’ website. Accessed October 25, 2004.
139. Printout: The Guerrilla Girls’ Bedside Companion to the History of Western Art.
4to.; one leaf; recto only; printout on white copy paper.
A printout about The Guerrilla Girls’ Bedside Companion to the History of Western Art from the Guerrilla Girls’ website. Accessed October 25, 2004.
140. Press Release: Guerrilla Girls Honored at Brooklyn Museum. Brooklyn Museum. August 2007.
4to.; two leaves, rectos only; printed on Brooklyn Museum stationery; illustrated with color photograph.
A press release for the November 9, 2007, Women in the Arts Fundraising Luncheon honoring the Guerrilla Girls at the Brooklyn Museum.
141. Newspaper article: Wyatt, Edward. “Protest Group Assails Eli Broad Art.” New York Times. February 14, 2008.
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