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multiple threads of these individual developments.
Once the fact that there are women working, and working well, in all media and all styles, gets through to those in the art establishment, and once those in charge of that establishment begin to implement their new-found knowledge by selecting women the same way men have been selected all along, the process of segregation maybe obsolete. Or there is the change that women artist will not want to be used xx the same way men have been all along.

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Footnotes:
1. Hardly the case, however, with the first women's show I did, at the second request of Larry Aldrich, who later told The New York Times (May 30, 1971) that "he didn't see anything in it he wanted to buy". This was untrue, as he has attempted to purchase one piece at such a cut-rate that the artist preferred to destroy it rather than let him have it. He also refused to have slides made of the show, as he customarily did all other shows in his museum, an claimed a "first-time incidence of money-back requests from the public". Although this was the first women's art show since the resurgence of the women's movement, it was never reviewed in the art press. 

2. The Women's Art Registry, founded by the Ad Hoc Women Artists' Committee in the winter of 1970-71m now occupies a space of its own at the non-profit gallery Artists' Space in New York City. It provided the model for other WEB registries in the other cities, and more recently, for other mixed-gender artists' registries all over the country.

3. WEB now has groups in 22 states and 11 foreign countries. It was originally founded to keep the early groups in Los Angeles and New York in touch with each other, thus the title.