Is Martha Edelheit a feminist or is she just having fun? A new exhibition at Eric Firestone called “Flesh Walls: Tales from the 60’s” doesn’t tell. Part of the newly awaked and radically sexualized avant-garde of the 1960s that coalesced around happenings, drugs, and political manifestos, Edelheit employed the female body as both canvas and narrative. Her monumental triptych “Female Flesh Wall” from 1965 is magnificent. Overlapping female bodies in suggestive poses linger in a state of repose in front of a prim wooden drafting table. Chromatically the bodies read from consciousness to mortality; pale flesh pinks morph into Maria-Lassnig-greens and culminate in bold turquoise blues on ground that ranges from muted to cacophonous. Feminism with a nod to classical painting must have been a tough pill to swallow in the 1960s, so the punch comes in form of an inserted self-portrait which satirizes traditional subject matter for women artists. Edelheit’s drawings take a decidedly raucous turn. Here, delicate lines spawn burlesque sexualized fantasies with exaggerated female and male genitalia swirling in circus-like settings. They speak of a very contemporary urgency to subvert traditional notions of gender and sexuality and a provocative assertiveness that seeks to splinter complacency. At Eric Firestone through December 15.