ABSTRACT
The chapter interrogates the alleged absences or presences of women performance artists within the Hungarian progressive art scene of the 1970s and 1980s, and seeks to explore to what degree feminist discourses in art and society shaped these artists’ creative agendas. Putting the activity of some selected artists in the broader context of international neo-avant-garde art, Beáta Hock aims to unhinge unifying narrative tendencies within feminist art historiography and to show, instead, that feminist art making develops in relation to specific social contexts while it also interacts with other artistic tendencies, both locally and transnationally.
