Moma dug deep into their archives and uncovered an exquisite collection of works by women artists that were making feminist statements long before the bra-burning demos of the 1960’s. “Making Space: Women Artists and Postwar Abstraction” brings together fifty international women artists who worked in an astonishing range of media in the years right after World War II, asserting their rightful place as artists and paving the way for many of the Feminist breakthroughs that we take for granted today. Poverty, trauma, religious straightjackets and female sexuality were some of the critical issues that plagued many of our mothers and grandmothers. Working within this context, woman artists often had to find innovative ways to make themselves heard. Some, like Anni Albers, who were relegated by a male dominated artwolrd to traditionally female artforms such as textiles and collage, nevertheless managed to make profound statements within their confined context. Others, like Louise Nevelson, rejected their fluffy and delicate pigeonhole and made heavy, muscular sculpture. Highlights abound. They include Carol Rama’s spectral eye collage “Spurting Out” from 1967, Helen Frankenthaler’s black stain abstraction “Tojan Gates” from 1955 and Dorothy Dehner’s “Encounter”, a series of eerily graceful totem poles. Here is Eva Hesse’s “Untitled” work from 1966, a chilling statement on female violence and distress. At MOMA through August 13.