Defined as a movement with the goal of equality regardless of gender, feminism has often been described as having come in three waves. In the early 1900’s, the first wave sought to legalize women’s suffrage. Following this, the second wave in the 1960’s was initially due to World War II which resulted in the need for women in the workforce. It ultimately ended with the failure to ratify the equal rights amendment. However, during the second feminist wave, many colored women raised their voices against the double inequality they faced for being both colored and women. The exhibition “We Wanted A Revolution: Black Radical Women, 1965-85” highlights and exposes the inequalities black women artists faced in their pursuit of recognition for their works. The exhibition as a whole intends to make viewers re-examine the second wave of feminism and the art that came from it.

Located in the Brooklyn Museum, “We Wanted A Revolution: Black Radical Women” showcases the works of over forty artists during the late 1900’s. The exhibition is placed around another piece: Judy Chicago’s “The Dinner Party”. A remake of the last supper with female figures, “The Dinner Party” was not particularly inclusive of women of color. The decision to place “We Wanted a Revolution”  around “The Dinner Party” seemed to emphasize how difficult it was for black women to receive recognition for their art, even by other female artists of the time. This aspect of curation already sets the tone for the rest of the exhibition.

The exhibition incorporates a considerable number of works from various artists. The difference in stylistic choice and color among the works does not take away from the flow throughout the exhibition. All the works are connected through their subject or message conveyed, not just the time period in which they were created. That aspect of the exhibition is executed well. During this time, artists began to challenge more traditional forms of art, and this is shown by the variety of works such as sculptures, and paintings. There were some physical aspects of the art that were prevalent in many pieces.

For example, a bullet sash around the subject of the piece was one aspect repeated among many works. The bullet sash, symbolic of ability and strength, was used to establish the power these artists aspired for. One artist, Dindga McCannon, even went so far as to create her own “woman warrior” to make up for what society did not embrace, in her piece “Revolutionary Sister”.

Ultimately, “We Wanted A Revolution” prompts the need for further scrutiny and re-evaluation of how society treats black women today. By looking at past inequality, we are more able to evaluate our current situations and ask ourselves: has anything really changed that radically? Today there are still groups fighting for their voices and equality. “We Wanted a Revolution” should be a wake up call to the masses that although things have changed, they can always get better.