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204 / Notesthe Seventies,” Network Art and the Complex Present (Ann Arbor: UMI ResearchPress, 1984), 278.14. Peslikis would leave the editorial board by the end of 1972.15. Cindy Nemser, “The Whitney Petition,” Feminist Art Journal, 1/1 (April 1972), 13.16. For a full account of the activities of feminist arts organizations in the 1970s, seeMary D. Garrard, “Feminist Politics: Networks and Organizations,” in NormaBroude and Mary D. Garrard, The Power of Feminist Art (New York: Abrams, 1994),88–101. Redstocking Artists and the Ad Hoc committees are discussed on pp. 90–91.17. The museum’s selection was The Family, one of the few paintings not to be reproducedin the catalog for the exhibition.18. “Open Hearing at the Brooklyn Museum,” Feminist Art Journal 1/1 (April 1972), 6.Neel’s remarks have not been recorded.19. Alloway, “Art,” 318. The New Republic critic Kenneth Everett was effusive, callingNeel “one of the few original and signiƒcant painters of the past 30 years.” “KennethEverett on Art,” New Republic, May 4, 1974, 27–28.20. Hilton Kramer, “Art: Alice Neel Retrospective,” New York Times, February 9, 1974.21. Hilton Kramer, “Art View: Why Figurative Art Confounds Our Museums,” NewYork Times, January 2, 1977.22. Kramer continued his diatribes in his review of the ARTnews 75th anniversary issue:“My favorite entry in the foolish sweepstakes is that given by Ann SutherlandHarris, who solemnly pronounces Alice Neel, who is said to be underrated, as the‘ƒnest portraitist that America has produced since 1900.’ More party chatter ofcourse . . .” Hilton Kramer, “Art View: Reporting the Fashions—and the Ideas—for75 Years,” New York Times, December 4, 1977. In his catalog statement for her1951 exhibition at the ACA gallery, “Paintings by Alice Neel” (December 16,1950–January 31, 1951), Joseph Solman had praised her “great intensity.” On Neel’scopy he added the sentence, “I can say, that without any doubt, Alice Neel is thebest portrait painter in America today,” thus presaging Harris’s opinion by a quarterof a century.23. Robert Hughes, “Art: Myths of Sensibility,” Time, March 20, 1972, 77.24. Ibid., 72.25. Garrard, “Feminist Politics,” 92.26. David C. Berliner, “Women Artists Today: How Are They Doing vis-à-vis theMen?” Cosmopolitan 175/4 (October 1973), 216.27. Neel’s two sons and daughter-in-law Ginny were also very supportive of Neel’s career.28. Interview with May Stevens, New York City, March 1991.29. Patricia Hills, “Remarks” at Alice Neel Memorial Service, February 7, 1985, 1–2.Typescript in Neel ƒles, Whitney Museum of American Art.30. Cindy Nemser, “The Women’s Conference at the Corcoran,” Art in America 61/2(Jan.-Feb., 1973), 90.31. Unavoidable disagreements did undermine the movement’s unity over the courseof the decade. For example, in 1980, Neel participated in a second conference inWashington, D.C., the Women’s Caucus for Art and the Coalition of Women’sArts Organizations. The event was organized by a splinter group of the WCA,