'Witness the excitement of women who believe CHANGE IS POSSIBLE AND WE CAN MAKE IT HAPPEN. Detailed insights and histories from pioneers and custodians of the feminist art movement read like a pilgrimage and a call: Activism on behalf of women!'
–Joanna Frueh, author of Clairvoyance (For Those in the Desert): Performance Pieces, 1979-2004
'Jill Fields’ study is an important contribution to the cultural history of feminist art and a collective story of one of its origins at the Feminist Art Program in Fresno, California. The essays by artists and scholars explore interconnections between that locus of activity and feminist strategies nationally and internationally. Entering the Picture establishes a crucial foundation for the aesthetics and ethics of the early feminist movement, based on its magnificent ideas of liberation, exploration, and justice.'
–Andrea Liss, Professor of Contemporary Art History and Cultural Theory, California State University San Marcos
'Fields' book, like Chicago's feminist education work that inspired it, continues the rewriting of art history to increase the inclusion of women and people of color. Her cogent introduction contextualizes the 22 essays that range from personal accounts of participation in the key developments of Feminist Art to manifestoes for the continuation of feminist activism.'
– Betty Ann Brown, Artillery
'What makes the volume different from existing literature about feminist art movements in the US is its advocacy for, and insistent attention to, collective projects, voices and visions, without diminishing the role of individuals. ... Anyone with an interest in the cultural history of the women’s movement in the US, feminist art and feminist pedagogies will find Entering the Picture a rich resource. The numerous essays with interconnected topics and trajectories provide the reader with the possibility of exploring issues in detail. It is likely to be a stimulating read for artists, art historians and scholars interested in the feminist art movement in the US and their collective cultural histories.'
– Annette Krauss, European Journal of Women's Studies