An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017

Howardena Pindell (b. 1943), still from Free, White and 21, 1980. Video, color, sound; 12:15 min. Whitney Museum of American Art, New York; purchase with funds from the Film, Video, and New Media Committee  2015.35. © Howardena Pindell

Suzanne Lacy (b. 1945), Learn Where the Meat Comes From, 1976. Video, color, sound, 14:20 min. Whitney Museum of American Art, New York; purchase with funds from the Film, Video, and New Media Committee 2014.142. © Suzanne Lacy, courtesy of Video Data Bank, www.vdb.org. Photograph by Raul Vega

Guerrilla Girls (active 1985–), Guerrilla Girls Review the Whitney, 1987. Offset lithograph, 22 × 17 in. (55.9 × 43.2 cm). Whitney Museum of American Art, New York; purchase 2000.91. © Guerrilla Girls

Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right, top to bottom: Mierle Laderman Ukeles, I Make Maintenance Art One Hour Every Day, September 16-October 20, 1976; Martha Rosler, Semiotics of the Kitchen, 1975; Guerrilla Girls, Bus Companies Are More Enlightened than NYC Art Galleries., 1989; Guerrilla Girls, Guerrilla Girls’ Pop Quiz., 1990; Guerrilla Girls, Missing in Action, 1991; Guerrilla Girls, How Many Women Had One-Person Exhibitions at NYC Museums Last Year?, 1985; Guerrilla Girls, If You’re Raped, You Might as Well “Relax and Enjoy It,” Because No One Will Believe You!, 1992; Guerrilla Girls, You’re Seeing Less than Half the Picture, 1989; Guerrilla Girls, Women in America Earn Only 2/3 of What Men Do, 1985; Guerrilla Girls, These Galleries Show No More than 10% Women Artists or None at All, 1985; Guerrilla Girls, At Last! Museums Will No Longer Discriminate against Women and Minority Artists, 1988; Guerrilla Girls, Guerrilla Girls Identities Exposed!, 1990; Guerrilla Girls, Top Ten Ways to Tell if You’re an Art World Token, 1995; Guerrilla Girls, The Advantages of Being a Woman Artist, 1988; Guerrilla Girls, We Sell White Bread, 1987; Guerrilla Girls, Traditional Values and Quality Return to the Whitney Museum, 1995; Guerrilla Girls, Guerrilla Girls Hits List, 1986; Guerrilla Girls, Supreme Court Justice Supports Right to Privacy for Gays and Lesbians., 1992; Suzanne Lacy, Learn Where the Meat Comes From, 1976. Photograph by Ron Amstutz

Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right, top to bottom: Martha Rosler, Semiotics of the Kitchen, 1975; Guerrilla Girls, Bus Companies Are More Enlightened than NYC Art Galleries., 1989; Guerrilla Girls, Guerrilla Girls’ Pop Quiz., 1990; Guerrilla Girls, Missing in Action, 1991; Guerrilla Girls, How Many Women Had One-Person Exhibitions at NYC Museums Last Year?, 1985; Guerrilla Girls, If You’re Raped, You Might as Well “Relax and Enjoy It,” Because No One Will Believe You!, 1992; Guerrilla Girls, You’re Seeing Less than Half the Picture, 1989; Guerrilla Girls, Women in America Earn Only 2/3 of What Men Do, 1985; Guerrilla Girls, These Galleries Show No More than 10% Women Artists or None at All, 1985; Guerrilla Girls, At Last! Museums Will No Longer Discriminate against Women and Minority Artists, 1988; Guerrilla Girls, Guerrilla Girls Identities Exposed!, 1990; Guerrilla Girls, Top Ten Ways to Tell if You’re an Art World Token, 1995; Guerrilla Girls, The Advantages of Being a Woman Artist, 1988; Guerrilla Girls, We Sell White Bread, 1987; Guerrilla Girls, Traditional Values and Quality Return to the Whitney Museum, 1995; Guerrilla Girls, Guerrilla Girls Hits List, 1986; Guerrilla Girls, Supreme Court Justice Supports Right to Privacy for Gays and Lesbians., 1992; Suzanne Lacy, Learn Where the Meat Comes From, 1976; Guerrilla Girls, Guerrilla Girls Review the Whitney, 1987. Photograph by Ron Amstutz

Mierle Laderman Ukeles (b. 1939), I Make Maintenance Art One Hour Every Day, September 16–October 20, 1976. Performance with three hundred maintenance empolyees, day and night shifts, over five weeks. 720 collaged dye diffusion transfer prints with self-adhesive labels, graphite pencil, collaged acrylic on board, and self-adhesive vinyl on paper, dimensions variable. Whitney Museum of American Art, New York; purchase with funds from the Photography Committee and The Robert Mapplethorpe Foundation T.2017.2. Courtesy of the artist, the Queens Museum and Ronald Feldman Fine Arts, New York. Photograph by Hai Zhang