Mierle Laderman Ukeles, ‘‘Washing/Tracks/Maintenance’ performances of the 70s questioned gender roles and female visibility within the institutional context. Using a mop, a rag and a brush, she scrubs the front of different art galleries, specifically the Wadsworth Antheneum. Resultantly, Ukeles likens the labour that is expected from a mother and a wife to work, and translates such into to an artwork. Ultimately, the post-object work functions as an institutional critique, underlining who and what is and can be displayed in an art museum.

Made 50 years later, Every Artist Remembered contemplates the visibility of female artists in the artworld. In 2023, the Art Gallery of NSW displayed on a wall the very small amount of female artists that have ever won the Archibald prize. Recontextualising this reality at UNSW, I paint different female artist alumni in red, and proceed to ‘erase’ these with a mop. This is symbolic of how the labour of female artists is often undermined and overlooked in the artworld.