 I think of myself as a feminist artist because I'm for feminism. But my work is not generally about feminism per se. It's about, I mean, but something that I take as a given is we want people to grow and be liberated and equal and we're moving towards a better world, you know, a better world. That's the idea. That's the liberal idea is we want to move to a better world and it's not going to be a better world if feminism is not mixed into that. It just won't be, so it's automatic. But I could also call myself a gay activist too, you know, and certainly civil rights. All those things is all part of the same stuff. It wasn't my intention to focus specifically in this piece about a feminist art, but it would have turned out to be because I picked a prototypical, you know, Promethean feminist artist herself, Carolish Naiman, who starred in us thinking about, at least one of the number of people who starred us thinking about the body and the female bodies specifically. And I don't think that initially she was trying to load in political concepts that were specifically feminine. She was coming from, I think, initially kind of just a liberation kind of thing. Our piece is really specifically about Carolish Naiman. Also shows a kind of a general branching of interest in work that is about performance and the body and shows people as kind of previous artists who she claims influencer in some way. Our toe is really big for the theater cruelty. And then people who are working at the same time, and of course there was a real dialogue going on when she was working with the Judson Dance Theater and working with people like Claes Oldenburg and Al Capro and Robert Roschenberg. And then people who had a kind of more firmer idea about what it was that was going on. So when she actually started making work that was clearly about feminism, which is about ten years later, she was part of a movement by that time. She was part of a movement. No one else has really said as far as I know Caroli did this and when Annie Sprinkle did this that she was somewhat standing on the shoulders of Caroli but I could make those kind of connections and maybe other people had. So that's what that chart sort of did is that I laid out the people that Caroli claimed as her predecessors. Then her contemporaries that she worked with together developed these ideas and it actually picks a few high points in her career because I think she had a few really classic definitive pieces and they were ten years apart. Which is really great for an artist to be able to be hitting, because it's more than one mark. She hits more than one mark and usually a famous artist has one idea Caroli had more than one. And then that sort of echo of all that kind of work is the rest of the chart.