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15 left unspoken; each participant /acts upon them, while not fully recognizing them and assumes that the experience is unique to her. The first step towards clearing up the space for helpul criticism, is to prompt the sharing of these feelings at the beginning, either through CR (and usually feelings about one's work and one's professional identity are also topics for the small CR groups), or in other ways. For example, the first session in which we ask women to show their work is preceeded by a session of women expressing their best and worst fantasies about showing their work to the group. When everyone realizes the universality of their apprehensions and hopes, the shared experiences creates a comfortable space and even comic relief. This frees up the attention of the participants to actually look at the work, hear the criticism and participate in giving feedback. (Because hearing -- especially responses to one's own work -- is so charged and therefore selective, some women have used a tape recorder to record the feedback, and listen to it again later on.) Regular and punctual attendence, are requirements [[crossed out]] made on [[/crossed out]] of the participants in order for the critique to work. New ΒΆ At the beginning of the critique, the artist is asked to present her work and articulate her intentions, process, the content, and formal means she chose. After her presentation the group gives feedback. In order for the artist to be able to listen to criticism, it is important to start out by acknowledging what is there in the work before talking about what is not there and giving suggestions about possible ways to improve the work and additional directions the work could go in. Suggestions for developing the work
