The history of China, as seen through the eyes of a Chinese woman, would no doubt present a very different story to that which we are accustomed to. The centuries of oppression endured by Chinese women were ratified by the teachings of Confucius which assert that women are unworthy of education as their intellectual capabilities are inferior to those of their male counterparts. Other than this he says little about women; a strong indicator of their irrelevant social position outside the basic biological role of motherhood. Their traditional subordination is further exemplified by the practice of foot binding, a fashion which began as early as 907 and continued well into the twentieth century, despite being banned by the Republic government in 1912. This excruciatingly painful process ensured that women were essentially crippled and prevented from having any real form of physical independence. So deeply ingrained in society was the belief that three-inch long ‘golden lily feet’ constituted the epitome of femininity and beauty, however, that women considered it essential to inflict the practice upon their young daughters in order to prevent them from a living a life of shame. Femininity can be defined as a pattern of social behavior, expected of women, that conforms to a general paradigm of beauty. Its defining characteristics have changed over time and place and serve as an effective indicator of women’s social standing. In the West, femininity manifested itself in extreme practices such as corset wearing whereas in some Asian and African countries, deforming neck rings are considered definitive of female beauty. Even in contemporary society, potentially harmful practices such as wearing high-heeled shoes or excessive dieting remain socially acceptable and are carried out in accordance with currently held notions of femininity. In China, the characteristics of femininity and the status of women in society shifted with the rise of the Republic in 1912. Not only was the binding of feet banned, but women were also permitted an education. Dramatic changes in their social situation did not arise, however, until the communist revolution. According to the precepts of communism, men and women are considered equal, as both are capable of contributing to the greater good of society. Women therefore gained relative levels of emancipation, but this could only be achieved by abandoning a connection to the traditional feminine archetype. To persist with these traditions would be suggestive of a decadent sexual awareness, which ran contrary to the objectives of communism. Levels of social equality granted to women during this time ultimately depended upon them relinquishing the right to express their female identity and instead conforming to a more masculine mode of behaviour. Over time, as China gradually opened up to the West, many of the stringent guidelines designed to limit and dictate the behaviour of Chinese citizens were relaxed. With new influences flooding into the country, Chinese women began to adopt a new form of femininity; one which was not only informed by the Western world, but also by other Asian nations. Today official statements declare women to possess equal rights politically, economically and domestically, but traditional stereotypes remain apparent and in practice gender equality does not always prevail. This is particularly the case in the multitude of rural communities which remain cut off from China’s economic and social developments. As stated by Hou Hanru in his curatorial statement for the China Pavilion at this year’s Biennale where he displayed only the work of female artists: “China’s modernization process has rested upon a highly masculine vision of the world…[and] social organization in China remains male-centric.” During the recent boom in Chinese contemporary art, it has been mostly male artists who have benefited from the attentions of the international community. So what of China’s female artists? How are they making their presence felt in this male-orientated society, and what is their relationship to independence and femininity in their work?