ABSTRACT
As a major feminist collaboration, The Sister Chapel owes its existence to the women's art movement of the 1970s, from which it cannot and should not be disentangled. The Sister Chapel is simultaneously a cohesive, collectively developed installation and a group of discrete, separately executed works. To preserve the nonhierarchical spirit of the collaboration, the artists are paired or grouped according to professional, historical, or personal associations. Since the success of The Sister Chapel depended largely on its diversity of styles and subjects, the author have avoided the pretense of linking the works according to artistic or iconographic similarities. Because she conceived the project, Ilise Greenstein is the first artist to be discussed monographically. Her ceiling and Maureen Connor's maquette for the chapel enclosure are unlike the large figurative canvases; thus, Connor is placed at the end of the single-artist studies to achieve an organizational balance.
