An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband

In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.