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“... Nicola L.​ is best known for the soft vinyl sculptures of feet and other body parts she made in the 1960s and 1970s. These giant cushions were paired with other ‘functional objects’ including plastic lamps shaped as eyeballs and lips, curvaceous wooden chests of drawers and head-shaped bookcases. In I Am the Last Woman Object (until 29 December), soft sculptures dot the gallery space ...”

“... Since​ 1977 Barbara Kruger has explored the relationship between politics and power in text and image-based works that surprise, exhort, instruct, plead, insist, cajole and otherwise boss us about. In addition to her familiar wall-mounted billboards and projections on show at the current Serpentine retrospective (until 17 March), sound installations dotted about the gallery repeat stock phrases such as ‘Your call has been forwarded ...”

“... Between​ 1978 and 1983, Charles Jencks worked with the architect Terry Farrell to turn his family’s Victorian end-terrace home in Holland Park into Cosmic House. Jencks died in 2019, two years before the house opened to visitors and nearly fifty years after he defined ‘postmodern’ architecture as an ironic, pluralist style signalling ‘the death of modernist architecture ...”

“... In​ 1932, aged seventy, Hilma af Klint rewrote her will. She stipulated that her paintings, notebooks, drawings and writings be kept from public view for at least twenty years after her death: by then, she hoped, audiences might be ready for her work. In the event, it took more than four decades for it to be seen in public. In 1986, a selection of paintings were included in The Spiritual in Art: Abstract Painting 1890-1985 at the Los Angeles County Museum of Art alongside work by better-known contemporaries including Kazimir Malevich, Wassily Kandinsky and Piet Mondrian ...”

“... In​ 1970, the artist formerly known as Judy Gerowitz renounced ‘all names imposed on her through male social dominance’ and became Judy Chicago, doing away with both her paternal and marital surnames. She pinned the announcement to the wall of her exhibition of sprayed acrylic lacquer abstract paintings, then on show at California State College, Fullerton, and placed an ad in Artforum magazine ...”

“... The question​ ‘Why are there no great women artists?’ was first put to Linda Nochlin in 1970 by the New York gallerist Richard Feigen. It was a genuine inquiry. He would love, he said, to show women artists. The problem was he couldn’t find any good enough. Stumped for an answer at the time, Nochlin continued to consider the question. Her response came a year later in the form of an essay that appropriated Feigen’s question for its title ...”