As the exhibit was the first focusing on the Black woman's perspective, there was pressure to construct a feminine aesthetic within the Black American art vernacular. They were very conscious of the inherent overlap of Black and female identities.
Though they were often excluded from important conversations around Black Liberation and were subjected to misogyny by their peers who were Black men, they still often felt a stronger allegiance to the Black arts movement over the existing and predominately White feminist art movement.
Work in prisons, hospitals, and low-income areas[5]
WWA sometimes worked in conjunction with Women and Student Artists For Black Art Liberation, an organization that often worked out of Riker Island prison systems.
^Kay Brown, et al. Feminist Art Journal, vol. 1, no. 1, 1972. JSTOR, jstor.org/stable/10.2307/community.28036280. Accessed 2 Nov. 2020.
^Dallow, Jessica. “Reclaiming Histories: Betye and Alison Saar, Feminism, and the Representation of Black Womanhood.” Feminist Studies, vol. 30, no. 1, 2004, pp. 75–113. JSTOR, www.jstor.org/stable/3178559. Accessed 2 Nov. 2020.
^Chiarmonte, Paula L. “Women Artists: A Resource and Research Guide.” Art Documentation: Journal of the Art Libraries Society of North America, vol. 1, no. 5, 1982, pp. A1–A20. JSTOR, www.jstor.org/stable/27947012. Accessed 2 Nov. 2020.
^Kay Brown, et al. Feminist Art Journal, vol. 1, no. 1, 1972. JSTOR, jstor.org/stable/10.2307/community.28036280. Accessed 2 Nov. 2020.
