Rethinking the exhibition theme and design through second-wave feminism
Recently, while thinking about the exhibition theme, I concentrated on reading several documents on second-wave feminism and gained a lot. Second-wave feminism originated in the 1960s and advocated the inclusion of private spheres (such as family, emotions, and body) in political discussions, emphasizing the invisible status of women in labor, gender roles, and social structures.
1. Inspiration from liberal feminism: an equal rights perspective on the theme
Liberal feminism emphasizes that women should enjoy the same social opportunities and legal rights as men. As the literature states: “Liberal feminists sought to extend the principles of individualism and equality to women by removing legal and institutional barriers” (Tong 2009, 17). This made me realize that the exhibition should not only present the hidden oppression of women in domestic labor, but also highlight women’s positive actions to fight for equal rights in the public sphere.
2. Inspiration from radical feminism: the politicization of spatial narratives
Radical feminism points out that gender oppression permeates daily life, especially in the areas of body and intimate relationships. The literature mentioned: “Radical feminists argued that the personal experiences of women were deeply political, as patriarchal structures shaped even the most intimate aspects of life” (Evans 1995, 91). This made me think that I could reveal how women’s invisible labor is naturalized and private through the design of private spaces such as bedrooms and kitchens, and arouse the audience’s perception of structural power.
3. Inspiration from multi-feminism: Diversity and expansion in content
Multi-feminism criticized the neglect of racial and class differences in the second wave movement and emphasized intertwined oppression. The literature pointed out: “Multiracial feminism… highlights the interlocking nature of race, class, gender, and other systems of oppression” (Zinn and Dill 1996, 325). Therefore, I began to consider incorporating the labor experience of women in different social backgrounds into the exhibition, avoiding a single narrative and reflecting the complexity of experience.
4. Inspiration from the consciousness-raising movement: audience participation design
The second wave of feminism linked personal experience with structural oppression through consciousness-raising groups. As Freeman described: “Through consciousness-raising sessions, women connected their individual experiences to broader structures of oppression” (Thompson, 2002). Inspired by this, I considered adding interactive sessions to the exhibition, inviting the audience to share their own experiences of family and emotional labor, making the exhibition a dynamically generated public space.
5. Summary
In general, the second wave of feminism not only provided theoretical support for me to establish “invisible labor” as the theme of the exhibition, but also inspired me to be more critical and open in exhibition narrative, spatial layout and audience participation.
Bibliography
Evans, Judith. Feminist Theory Today: An Introduction to Second-Wave Feminism. London: SAGE Publications, 1995.
Thompson, Becky. “Multiracial feminism: Recasting the chronology of second wave feminism.” Feminist studies 28, no. 2 (2002): 337-360.
Tong, Rosemarie. Feminist Thought: A More Comprehensive Introduction. Boulder, CO: Westview Press, 2009.
Zinn, Maxine Baca, and Bonnie Thornton Dill. “Theorizing Difference from Multiracial Feminism.” Feminist Studies 22, no. 2 (1996): 321–331.
