With hindsight, I can point to my first encounter with gender segregated histories at my high school history classes in southern Ontario, Canada. We learned about women's win for the vote in Canada, and later the win of the Person's case, which was the beginning of women's full participation in government. I disliked these classes because, women and girls appeared differently and in separated histories (see slide 5). I did not take another history class until much later. As a girl teen in the 70s I did not want to admit that I was being treated differently, because I happened to be female, yet I knew I was, and it hurt.

As I worked towards my fine arts degrees, upon each year of study, it was noticable to me that the work of female artists were rarely included other than as support to the work of the male genius, or the anomaly to the norm, etc. Finally, I followed my instincts and sought out the art work of women. I read outside the curriculum about the work of creative women such as, Judy Chicago. Her book, Through the Flower, helped me to understand the modern art scene for the woman artist in the 1960s & 70s, of consciousness raising, and some of the attitudes that were challenged and still existed. Little did I know I was undertaking independant studies along with my regular course load. Similar to my high school education, I connected with the stories and agency of women in the 1970s, the affect of a few women's actions were meaningful, not isolated, and not being told in present day his-stories.

How is this done.