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even in his absence from the painting (Renoir for example); as symbols for idyllic and harmonious relationships; the child and mother as victims of sickness, poverty, general social injustice and human misery (Kaethe Kollwitz); the mother and child as a complete world in itself, with a heightened element of consciousness in their interactions, whether the mother is nurturing the child, or teaching it in some sense (Mary Cassatt); / and finally the courageous shattering of an idyllic mystique of mother and children in the family context (Marisol and Dorothea Tanning for example). New ¶ The artist who brought her photographs to the critique was acknowledged for her own point of view, and her work was also set in a historical perspective through comparison with other treatments of the theme. This discussion was followed by those aspects which were not fully present in the work and which could broaden its content: How is the mother not only similar to the children in feeling equally restricted, but also different in her role of responsibility and power? What is the relationship of the sense of confinement of mother and children to the social structure in which this is experienced? And how can that context be expressed integrally with giving voice to her personal feelings? This example also serves to illuminate how we facilitate the creation of feminist art. Each artist is encouraged to develop her own work by expressing her personal experience with a consciousness of the societal context in which it occurs. We do not prescribe or favor the expression of one experience over another, nor of certain media to express it; rather we see our role as facilitators for the exploration and expression of women's experience and points of view through art.