Whose Image Is It?
Anne Sargent Wooster, High Performance
August 1990
When I first saw Hannah Wilke’s work 14 years ago I admired its brash, bold sexuality. Wilke’s sculptures used latex rubber snapped and hung together to make labial shapes that were both exciting sculpture in the tradition of late minimalism/process art/eccentric abstraction and simultaneously fulfilled the expectations and agenda of the newly emerged feminist art that called for a celebration of female imagery. […]