Artists Cheri Gaulke and Sue Maberry’s feminist activism learned
at the Woman’s Building, combined with their lesbianism, radi-calized them to create ongoing documentation of their family. This article examines how Gaulke has intertwined her domestic, private imagery and narrative with her artistic, public work in a way that reveals a useful mode for her to examine the range of experiences as lesbian, parent, and artist. Thus, these two bodies of work co-exist and inform each other in her oeuvre and in her art with partner Maberry. They have created a kind of sexualized display sometimes inverting heteronormative conventions while other times presenting the family as a single unit, transgressive in its happiness and unity.