It's fascinating to think of Schapiro, inspired by the discourse she was helping to create, doing these pieces when she was able to return to her studio after the intense period of working with the feminist program on the Womanhouse
project in the fall of 1971 and early
winter of 1972, but before she had a name for this work, before «femmage» and «pattern and
decoration» became movements and personal brands, with their declarative power but sometimes restrictive effect on art practice.