This text is a presentation of the project of a revisionist history of feminist art in Poland. In its first part, I draw attention to the fact that the conceptual frameworks that shape the narratives of the relationship between art and feminism, both global and local, have proved to be extremely durable. In the next two sections of the article, I present a revisionist history of feminist art in practice with brief analyses of three works: Banner-Corset and Cover for My Lover by Maria Pinińska-Bereś (both 1967) and Consumer Art by Natalia LL (1972–1975).

Fifty years after Linda Nochlin wrote her essay Why Have There Been No Great Women Artists? female artists are still struggling with limitations, a weak position in the field of art and their own dependence on others. In the text I discuss selected works of artists from Central Europe, which indicate the gender and geographical dependencies prevailing in the Western art world. Such artists as Tanja Ostojić, Anetta Mona Chisa and Lucia Tkáčova, Agata Zbylut and Aneta Grzeszykowska use diversion and mimicry strategies in their art, and the artists themselves can be described as tricksters.