ABSTRACT
Performance and experimental art practices under communism developed, for the most part, within the unofficial or second public sphere, with the counterculture opposing the hegemony of the socialist governments. With performance art practices art that addressed gender, or claimed a feminist position, was a footnote of that second public sphere. This chapter analyses the work of artists such as Natalia L.L., Sanja Iveković, Jana Želibská, Maria Pinińska-Bereś, Ewa Partum, and Orshi Drozdik, demonstrating the varying and complicated relationship that these artists, and their work, had with feminism, as they explore gender, femininity and sexuality in their art.
