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              <text>https://www.youtube.com/watch?v=vihmmWJ6fsA&amp;ab_channel=YerbaBuenaCenterfortheArts</text>
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                <text>"RSVP" Series</text>
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                <text>Sanga Nengudi</text>
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                <text>Nylon</text>
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                <text>In this piece, Senga Nengudi centers the body by synthesizing dance with instillation. Performers navigate and manipulate the sand-filled pantyhose, evoking the elasticity and resiliency of the Black female body. </text>
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                <text>New York’s Just Above Midtown Gallery, 1977; MOMA 2003. </text>
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                <text>Pantyhose and sand, 10 pieces; overall dimensions vary</text>
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                <text>A Subtlety</text>
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                <text>Kara Walker</text>
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                <text>Sugar</text>
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                <text>In this large scale instillation, Kara Walker brings attention to the central role of sugar in US slavery while simultaneously calling out the ongoing exploitation and sexualization of the Black female body. </text>
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                <text>Presented by Creative Time; staged in Brooklyn's Domino Sugar Factory</text>
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                <text>2014</text>
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                <text>Sugar-coated sculpture; 75-feet-long and 35-feet-tall</text>
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                <text>Akua'ba</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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                <text>Birth control</text>
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                <text>The Akua'ba is a fertility doll primarily derived from Ghana. Young women carry these dolls with them in the hopes of conceiving a child. </text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Unknown</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Wood-carved object; overall dimensions vary</text>
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        <name>femininity</name>
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              <description>A name given to the resource</description>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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            <description>A name given to the resource</description>
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                <text>Chicken Knickers</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Sarah Lucas</text>
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                <text>1997</text>
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            <description>The topic of the resource</description>
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                <text>Meat</text>
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                <text>Positioning a raw chicken approximate to her vuvla, Sarah Lucas critiques the sexual objectification of women, nuancing the boundaries of intimacy, consumption, and desire</text>
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                <text>Photograph, color, on paper; 426 × 426 mm</text>
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                <text>c. 1940</text>
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            <description>The topic of the resource</description>
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                <text>Pineapple</text>
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                <text>This image, first produced by Frank MacIntosh for a 1940s Hawaiian Cruise Line menu, appears in Gary Okihiro's book &lt;em&gt;Pineapple Culture&lt;/em&gt;. This image emblematizes US settler colonialism and represents the orientalization of Indigenous femininity.</text>
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                <text>1940s Matson Cruise Line menu</text>
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                <text>Indigurrito</text>
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                <text>Nao Bustamante</text>
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                <text>Dildo</text>
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                <text>In this performance, Nao Bustamante fastens a burrito to her strap on, daring white men in the audience to take a bite.  The performance challenges white men to reckon with their hand in the genocide and continued oppression of Indigenous people. </text>
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                <text>In this instillation, interdisciplinary artist Ben Cuevas knits a jockstrap while sitting nude in a men's locker room.  Embracing frameworks of embodiment and softness, Cuevas' performance critiques the gender binary by engaging in a feminized form of labor in a masculine-coded space. </text>
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                <text>First performed at the Queer Biennial exhibition, at the Hotel Gaythering, in conjunction with Art Basel Miami</text>
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            <description>A name given to the resource</description>
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                <text>NAMES Project Aids Memorial Quilt</text>
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                <text>Cleve Jones et al. </text>
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                <text>Quilt squares, 1.2 million square feet</text>
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            <description>The topic of the resource</description>
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                <text>Conceived of by gay rights activist Cleve Jones, this quilt memorializes and honors the thousands of lives lost during the AIDS epidemic. Imbued with intimacy and softness, the quilt renders visible the immense toll of the epidemic, rejecting the Regan administration's silence surrounding the crisis. </text>
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            <description>A name given to the resource</description>
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                <text>Public Cervix Announcement</text>
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                <text>Annie Sprinkes</text>
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                <text>The Speculum</text>
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            <description>An account of the resource</description>
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                <text>In this provocative piece, Annie Sprinkes inserts a speculum into here cervix and invites audience members to peer inside. Through this act, Sprinkles attempts to demystify and normalize the female body. </text>
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                <text>1990s</text>
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              <name>Title</name>
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            <description>A name given to the resource</description>
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            <name>Creator</name>
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                <text>Catherine Opie</text>
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                <text>Milk</text>
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                <text>One part of a self-portraying triptych piece. In this image, Opie evokes the imagery of "Madonna and Child," staging innocence, purity, and softness. Meanwhile, the word "pervert" remains etched into her skin. </text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Solomon R. Guggenheim Museum</text>
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