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This chapter examines a subset of Hannah Wilke’s predominantly performance-based artistic projects centered on techniques of exposure to reveal gender-based inequalities regarding attribution and agency that had been obscured in the lives and works of notable art-world figures, such as her former romantic partner Claes Oldenburg. Focusing on a body of artworks that were made to highlight the connections between her work and that by male artists, for whom she often contributed labor without recognition, this discussion considers her claims for female agency in the context of how second-wave white feminism intersected with debates regarding publicity, privacy, and intellectual property law throughout the 1970s. By using intimate access to her male lovers and associates, Wilke divulged hidden or otherwise undisclosed evidence of shared labor, agency, and responsibility in artistic creation in an attempt for justice.

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