The first issue of the Heresies, a quarterly feminist publication on art and politics. Issue edited by the First-Issue Collective: Joan Braderman, Harmony Hammond, Elizabeth Hess, Arlene Ladden, Lucy Lippard, and May Stevens. Essays “Traditional Status Values of the Village…” by Mandy Martin; “From the First-Issue Collective”; “Toward Socialist Feminism,” by Barbara Ehrenreich; “Tijuana Maid,” by Martha Rosler; “Women in the Community Mural Movement,” by Eva Cockcroft; “Women and Honor: Some Notes on Lying,” by Adrienne Rich; “Adman and Zucchini Poem,” by Elizabeth Zelvin; “Tribute to Rosa Luxemburg and Two Women,” by May Stevens; “The Art of Not Bowing: Writing by Women in Prison,” by Carol Muske; “Songs from a Free Space,” by Carole Ramer, Deborah Hiller, Gloria Jenson; “La Roquette, Women’s Prison,” by Groupe de Cinq; “Fays, Floozies and Philosophical Flaws,” by Arlene Ladden; “The Esthetics of Power in Modern Erotic Art,” by Carol Duncan; “Now Women Repossess Their Own Sexuality,” by Louise Bourgeois, Marisol, Ann Leda Shapiro, Dotty Attie, Anita Steckel, Joan Semmel; “ABCs,” by Susan Yankowitz; “Do You Think,” by Jayne Cortez; “Bomb Shitting and Torture in Chile,” by Nancy Spero; “The Empress Anastasia in New York,” by Jan Clausen; “Dead in Bloody Snow,” by Meridel Le Sueur; “Notes from the First Year,” by Susan Saxe; “Posters from the People’s Republic of China”; “Feminist Abstract Art – A Political Viewpoint,” by Harmony Hammond; “‘Females Experience in Art,’: The Impact of Women’s Art in a Work Environment,” by Ruth E. Iskin; “Death of the Patriarchy/Heresies,” by Mary Beth Edelson; “A Pink Strip,” by Amy Sillman; “The Pink Glass Swan: Upward and Downward Mobility in the Art World,” by Lucy R. Lippard; “Juggling Contradictions: Feminism, the Individual and What’s Left,” by Joan Braderman; “Posters from Australia,” by Ann Newmarch, Mandy Martin, Toni Robertson; “Moratorium: Front Lawn: 1970,” by Kate Jennings; “Puerto Rican Day Parade,” by Suellen Snyder; “Chicago Mannequin and Twins and Janet,” by Su Friedrich; “Who Are We? What Do We Want? What Do We Do?” by Accion para la Liberacion de la Mujer Peruana; “On Women’s Refusal to Celebrate Male Creativity,” by Rivolta Femminile; “What is Left?” by Assata Shakur; “Around Coming Around – A Performance,” by Marty Pottenger; “Wages for Housework: The Strategy for Women’s Liberation,” by Pat Sweeney; “Selected Bibliography on Feminism, Art and Politics”; “Still Ain’t Satisfied,” by Bonnie Lockhart.

In the late 1960s, the New York art world was, famously, an exhilarating place to be. New forms, including performance and video art, were making their debuts, and sculpture was developing in startling ways. In the midst of it all, experimental abstract painting was pressing art’s most iconic medium to its limits and beyond. <I>High Times, Hard Times</I> fills a gap in coverage of this moment in history, recapturing its liveliness and urgency with more than 42 key pieces by 38 artists who were living and working in New York at the time. Many of those featured artists have contributed personal statements reflecting on the work, its meaning and the social scene that surrounded it, including Lynda Benglis, Mel Bochner, Roy Colmer, Mary Corse, David Diao and Peter Young, Guy Goodwin, Harmony Hammond, Mary Heilmann, Cesar Paternosto, Howardena Pindell, Dorothea Rockburne, Carolee Schneemann, Alan Shields, Joan Snyder, Franz Erhard Walther and Jack Whitten, as well as one curator and one critic, Marcia Tucker and Robert Pincus-Witten. The critic Katy Siegel and the painter David Reed have written essays tha focus, respectively, on the work’s explosive artistic and political context, and the experience of being a young painter living in New York during these years. Additional pieces by Dawoud Bey and Anna Chave focus on race and gender in that milieu. Color illustrations of every featured work, along with supplementary historic photographs from the period, ephemera, biographies, a timeline and a bibliography round out a beautiful, much-needed book, a complete reference on a crucial era.