When you step into the space housing SFAI’s archive, the first thing you see is a wall displaying a selection of artifacts and photos. Among them are a massive wooden sign for the California School of Fine Arts; a photograph of the school’s first location in the Mark Hopkins Mansion on Nob Hill; a large-scale photo of a life drawing class taught by Richard Diebenkorn in 1948; a Spanish tile from the courtyard fountain; and scrawled on a tattered placard, "Give SFAI To The Students."

Archival exhibitions are not merely the best way to understand currents in 1970s feminist art and activism, but to form an active and personal connection to them that can energize both practices in the present. Janet Sarbanes visits "The Feminist Art Program (1970-1975): Cycles of Collectivity" at REDCAT, and "Heresies: Still Ain’t Satisfied" at UCR Arts, both which pay tribute to feminist pedagogy and organizing through the art of assembling the archive.

Artists' books printed in multiples achieved deep emotional resonance when infused with the care and craft characteristic to the feminist art movement. The Women's Graphic Center, housed at the Woman's Building in Downtown Los Angeles, evolved into a dynamic ecosystem of print art experimentation, providing feminist artists the tools and community to innovatively approach the artists' books form. Writer and art librarian Sam Regal positions these works within California print history and interrogates the problematics of their reductive library classification and belated institutional embrace.