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further include: What additional consciousness could be brought into the work in terms of content; is the media used in a way that relates specifically to that media; what kind of changes would make the work stronger in both content and form; does the work communicate what the artist intended, if not why, and how; how could it communicate what the artist had intended, or is she satisfied with what the work expresses as it is, and why so?

Sharing information on how a similar topic has ben treated [[strikethrough]] dealt with [[/strikethrough]] in the history of art and in contemporary art by both male and female artists, helps clarify the kind of consciousness that is brought into the work, and the tradition of knowledge through which the work will be apprehended. For example, recently in a demonstration of methodologies and techniques of feminist education, one of the participants brought a series of four photographs showing herself and her children all viewed through the bars of a child's play pen, as if both mother and children were/prisoners inside the play pen. 10 The artist was dealing with the topic of motherhood expressing her identification with her children, with whom she felt equally confined. We began by articulating this consciousness, and then proceeded to analyze the similarities and differences of this artist's content in relation to how the topic has been dealt with in feminist literature [[strikethrough]] [[?]] [[/strikethrough]] (e.g. Shulamith Firestone's writing) and in visual art. The theme of mother and child in Western art rages from religious glorification and expression of pain in the subject of Mary with the infant Christ; to the child and mother as adorned objects glorifying the head of the household, the father,