Martha Rosler’s biggest contribution to feminism may rest quite simply in her timing. Rosler picks up steam in the mid-1970s when, after the first wave of radical feminism trickled away, women were sent back into their kitchens. Rosler’s audacious aesthetic accessibility and self-referential approach is most evident in her most famous video “Semiotics of the Kitchen” (1975) where, in a parody of TV-cooking shows, she presents ordinary kitchen utensils in an increasingly violent and irrational manner. Variously employing video, film, photomontage, performance and installation, Rosler has exposed misogynistic methodologies such as the objectification of women in main-stream advertising and the chauvinism in pornography ads which perversely fosters the participation of women in their own debasement. War, censorship, ideology and the culture of fear are recurring subjects that have special resonance to the political condition of today. In “Reading Hannah Arendt (Politically, for an Artist in the 21stCentury)” (2006), excerpts from Arendt’s “The Origin of Totalitarianism” are printed on long transparent panels that hang from the ceiling. Visitors who navigate the grim word-forest can just make out a large digital print of our current president captured during a campaign rally in 2016 where he famously declared that “I could stand in the middle of Fifth Avenue and shoot somebody and I wouldn’t lose any voters, o.k.? It’s like incredible.” At the Jewish Museum through March 3.