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This sense of the self in the world seems to be second nature to a new generation of lesbian feminist artists, like the 20 who are participating in the brash, action-packed group show called "Shared Women," organized by LACE (Los Angeles Contemporary Exhibitions) to coincide with "Wack!" and on view through April 9. And I expect to find it again in the many young artists from around the world who will make up "Global Feminisms," which opens at the Brooklyn Museum this month.

But this attention, finally here, is not enough. "Wack!" needs all kinds of adjustments. In addition to wall labels, there should be many more historical documents - books, journals, posters - than the meager assortment on view. Maybe they'll show up at P.S. 1. The show's otherwise excellent catalog is crippled by the lack of an index, and its cover needs rethinking. Martha Rosler's sardonic collage of Playboy centerfold nudes loses its point out of context and turns into just another sex-sells pitch.

Beyond all that, feminist art of the 1980s and '90s still awaits a large-scale museum survey, and given the ground it would cover, it could be the most exciting one of all. But maybe this is just me wanting more. As I walked through the Geffen Center repeatedly over two days - the show takes at least that long to digest - I saw a gold mine of art-historical study present and future, and a revolution still, in ways to be determined, in progress.

"Wack! Art and the Feminist Revolution" remains at the Museum of Contemporary Art, 250 South Grand Avenue, Los Angeles, through July 16. It travels to P.S. 1 in Long Island City, Queens, next year.