Tate Modern is a museum that should have maps on every corner. It’s easy to get lost in the cement maze with peaks of daylight creeping in and the floods of other observers. But once you understand the routine of adhering to the labyrinth of galleries and artworks, it becomes something that you start to seek out in any personal escapade. 

Wandering through the Tate Modern was one of my favorite pastimes. Whether it was for class or pleasure, I always found myself gazing at the same art piece with the same tilted head and squinted eyes I always do. Yes, artworks and exhibitions by Yoko Ono and Mike Kelly did catch my eye and left me wondering. 

Specifically Kelly, a self-taught artist from Michigan that focused on childhood development and his own personal experiences with it. His work left audiences uneasy in a satisfying way. An example of his work would be his slideshow of  ink blot tests paired with uncomfortable music through the speakers. 

I learned so much about art and how influential it can be. It represents human thoughts, experiences, beliefs and perspectives. No matter when it was made, it always finds itself in a modern atmosphere. Art can speak louder than words, and the pieces done by the Guerrilla Girls always made sure of that.

The first piece I ever saw by them was called The Birth of Feminism movie poster (2001). It was a bright yellow poster with Pamala Anderson, Halle Berry, and Cathrine Zeta Jones holding an “equality now” banner. It caught my eye immediately and sparked so many questions that I couldn’t help but ask myself. 

Who are they? What is their story? Is all of their artwork focused on feminism? “The Guerrilla Girls are anonymous artist activists who use disruptive headlines, outrageous visuals and killer statistics to expose gender and ethnic bias and corruption in art, film, politics and pop culture,” they write for their website. Founded in 1985, they used their “guerrilla” way of approaching things to expose sexism and racism behind their iconic gorilla masks to shield their identity. 

Maintaining anonymity through the gorilla masks is an important aspect that drives interest from others. Along with the masks, they also go by pseudonyms, using the names of famous deceased female artists such as Frida Khalo and Alma Thomas. The masks and pseudonyms are a perfect escape from personal scrutiny, allowing a new sense of freedom of speech, “you’d be surprised what comes out of your mouth when you’re wearing a gorilla mask,” one of them famously says for the New York Times. Their masks are seen as an iconic symbol for what they stand for and who they are. 

The Guerrilla Girls were finished with the white, male-dominated art world and decided to do something about it. Their mission was to hold the art world accountable for putting men at the top of the pyramid instead of calling the playing field even. Emphasizing sex and racism through their artwork were the tools they needed to climb to the top of the pyramid. 

It’s easy to go to a museum and read about an artist and leave it at that. I’ve done it many times and I put it in the same box as if I were to read a passage for a class and forget it immediately after. The reason why the Guerrilla Girls followed my thoughts was because of their mission and message they wanted to spread. They were finished with males dominating the art field and so was everybody else.

Female art students often face challenges in navigating a traditionally male-dominated field, where historical biases have shaped perceptions of artistic merit and opportunity. They can struggle to find role models or equal representation in the classroom, which frequently prioritize the works of male artists. They also encounter subtle or overt discrimination, from being underestimated in critiques to facing limited access to professional networks. 

RISD, one of the world’s most prominent art schools in the country, often inadvertently drives this struggle. “As a woman artist at RISD, it’s evident that although the practicing art world acts like the art is purely based on talent alone, a lot of it still depends on whether you fit the idea of who gets to be taken seriously.” Sofia Cuevas RISD class of 2026 says. 

“It’s interesting to experience that in such a progressive age at a progressive school. Although there have been massive efforts and progression to even the playing field, subtle misogyny still takes place today,” she continues

In 2022, Forbes addressed the $192 billion gender gap in the art industry and presented statistics that only proved the Guerrilla Girls’ point further. 18 major U.S. art museums have collections that are 87% male and 85% white, and when the male signs their work of art it increases in value compared to when a woman does it – causing a decrease in value. A textbook that is often a necessity in class, The Story of Art written by Ernst Gombrich mentions one female in the 688 pages of the book. NFTs also suffer from huge gender gaps, only 5% of the money generated goes to female artists. 

Marist Professor Malgorzata Oaks of studio art focuses on prints, paper installations, and paintings. Getting her degree in Poland, she acknowledges the struggle that many female artists go through.  “Well it’s definitely slowly moving forward. They are recognizing the value of female artists and really want to emphasize them and include them in the exhibitions. Important exhibitions or even smaller exhibitions, museums or galleries, as well as the artists of color.”

“That’s really nice they’re paying attention to that. And I think moving forward if we’re able to receive a bit more support and financial recognition specifically for female artists it can help. I think we are heading in the right direction but it’s gonna take us a little more time,” she adds.

Up until the 1870s women didn’t even have paint brushes to hold. Men swept the competition with centuries worth of head-starts. Female artists had to catch up then, and they still do now. Institutions have recognized this issue and in their own ways have done something about it. Tate Britain, one of the most famous museums in the world curated an exhibition to showcase art done by only women. Now You See Us, displayed over 100 pieces done by artists from 1520-1920 to recognize their journey for recognition and professional status. 

“Including over 150 works, the show dismantles stereotypes surrounding women artists in history, who were often thought of as amateurs. Determined to succeed and refusing to be boxed in, they daringly painted what were usually thought to be subjects for male artists: history pieces, battle scenes and the nude,” writes Tate Britain regarding the exhibition. 

What separates them from the rest is their unique approach to spread their mission. While using different kinds of humor like satire, sardonicism, and irony paired with hard facts, statistics, and graphics, they create a successful form of criticism that has lasting charm as well as impact. Through eye-catching posters they collected people’s attention and presented the hard-hitting facts that helped spark larger conversations. From billboards to erasers, their message was getting across. 

Over the years, they have evolved in the issues they address. When they started, they narrowed their focus on sexism and racism in the United States; now, their pieces address topics that are relevant to women from reproductive rights, hypersexuality in art, the lack of female presence in museums, and political corruption. Now through a broader lense, they have broadened their horizons to the entire world. The Guerrilla Girls examine the art world as a whole, including international art institutions and cities.  

The digital age has only helped the girls spread their message in new and innovative ways while also attracting a wider audience.

With time, the Guerrilla Girls formed relationships with dozens of art institutions and worked on collaborations and shows. Through the collaborations, they are able to directly address the inequalities constructed by institutions. 

This year will be their 40th anniversary and to celebrate they have been in collaboration with the National Museum of Women of the Arts for a new exhibition. “Guerrilla Girls: Making Trouble,” is now open until Sept 28th. With well over 30 works and sculptures, taken from the museum’s own collection and over 80 pieces obtained over the last three decades. Hannah Shambroom, the museum’s assistant curator, tells the New York Times that it displays a chronology of their art from the beginning until 2024. 

NMWA is looking to spread the same message the Guerrilla Girls are – to advocate for greater gender and racial equality in the art world and beyond. Awareness of the issue at hand has spread internationally. Countless museums, galleries, and collectors have put their best efforts to correct this imbalance through their exhibitions and collections. With all of this being said, women are still playing that endless game of catch-up. 

The solution isn’t to settle for mediocrity or make excuses but to recognize these barriers, challenge outdated systems, and create new, inclusive institutions. By doing this, women—and anyone—can strive for true greatness, pushing beyond limitations and taking bold risks in their creative pursuits.