A catalogue published by the Norwich Gallery NSAD on the occasion of the exhibition Alexis Hunter: Radical Feminism in the 1970s, 25 October - 24 November 2006. For feminist artists the personal is political was one of the most important slogans in the 1970s. Being subjective as women in our work was the bravest and most radical thing we could do at the time. This female subjectivity became the most hated aspect of our work: myself using my own hands not the hands of models; Mary Kelly using her sons diapers; Susan Hiller photographing her pregnant belly; Tina Keane making performances based on her relationship to her daughter. Although we were selected to show with male conceptual artists this gap between our subjectivity and their masculine objectivity was obvious, opening up a distinction between socio-political art and conceptual art. Text source: http://www.e-flux.com/announcements/alexis-hunter-radical-feminism-in-the-1970s/.