Figure 21. Schneemann and Felipe Ehrenberg, with mimeograph and cat, c. 1971. The Beau Geste Press Ephemera, 1970–76, Department of Special Collections, Cecil H. Green Library, Stanford University. Image courtesy of Stanford University Libraries. Reproduced by permission of Lourdes Hernández Fuentes.

Figure 22. Front (left) and back (right) covers of Carolee Schneemann, Parts of a Body House Book (Cullompton, Devon, UK: Beau Geste Press, 1972). Images courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 23. Schneemann, “Blood Work,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 24. Schneemann, “INDEX,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 25. Schneemann, “Americana I Ching Apple Pie,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 26. “C. S. and Kitch,” in Schneemann, Cezanne, She Was a Great Painter (New York: Tresspuss Press, 1975). Photograph by [Leo] Choplin. Image courtesy of Special Collections, University of Iowa Libraries. Reproduced by permission of Carolee Schneemann and Neil Choplin.

Figure 27. Schneemann, cover of Cezanne, She Was a Great Painter. The inscription to Lil Picard reads, “Thank you Lil for helping my work move out—again! with love, Carolee.” Image courtesy of Special Collections, University of Iowa Libraries. Reproduced by permission of Carolee Schneemann.

Figure 28. Reading area, Up to and Including Her Limits, The Kitchen, New York City, 1976. Photograph uncredited. Carolee Schneemann Papers, 1959–94, Special Collections, Getty Research Institute. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Figure 29. Schneemann, Vulva’s Morphia (New York: Granary Books, 1997). Image courtesy of the University of Iowa Libraries. Reproduced by permission of Carolee Schneemann.

Figure 30. Guillermo Gómez-Peña, Enrique Chagoya, and Felicia Rice, Codex Espangliensis: From Columbus to the Border Patrol (Santa Cruz, CA: Moving Parts Press, 1998). Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Figure 31. Gómez-Peña, Chagoya, and Rice, Codex Espangliensis, third spread. Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Figure 32. Gómez-Peña, Chagoya, and Rice, Codex Espangliensis, sixth spread. Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Figure 33. Gómez-Peña, Chagoya, and Rice, Codex Espangliensis, eleventh spread. Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Figure 34. The author documenting a performance with DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática (Santa Cruz: Moving Parts Press, 2014), Special Collections Reading Room, University of Iowa Main Library. Photograph by the author. Reproduced by permission of Rice and Gómez-Peña.