ECO / COM / SYS . NR . 3 - 93 - 94 / ' MAAT '

CONCLUSION DATA ;
1. When a woman artist from a smaller country shows her work to an artist from a bigger country and this one is influenced by her works, the artist originator of these works should be acknowledged as the "original mothers." Her works should not be labeled " ethnic," while the other's work of art .
2. When a woman artists founds a school of her own and invites male participants to participate, they do not have the right to enjoy special rights because of their gender, nor show, before her rights, as an artist, were acknowledge. But if they have shown in such establishments before they spoke out for her rights - they should be banned alltogether as creative artists .
3. . ethat artist - should pay a pene the show , or ch artists and cuartors should be regarded , themsthe feminist era, it is ridiculous to see male artists and curators still use the " muse " syndrome and the woman artist as a sexual object, thus reducing her artistic capacities or her creative rights, Such artists and curators should be regarded, themselves, as worthless.
4. A gallery or a museum that invites emsan artist, or better said a woman artist to show, but cancels the show, or behaves in a humiliating manner towards that artist - should pay a penalty in money to that artist .
5. Generally speaking curators, directors and all those who are employed in the art establishment should be more and more involved with the artists themselves and be involved in their activities rather than in the commercial commodities of art .
6. The seventies were the beginning of the avant-garde movement of feminist artists. This movement in art should be recognized as any movement in the history of art. Because its consequences are surprising and unforseen .
7. In such movements, whether in past or present, artists of opposite political views participated; victims and anti-fascists were on the same side and both were oppressed .
8. A woman artist from a minority group working, though, in the "main–stream" style, should not be separated from her "sister in struggle," nor be put in a separate ghetto of minority artists. Together with the " main stream " * artist she should join the struggle . * ( Main-stream, is literary meant here )
9. The work of such a woman artist should be put on the same level of analysis and criticism as that of her struggling sister within the context of art, with relation to her work .
10. Male artists, or a new movement functioning predominantly in the spirit of the feminist art movement – should not be ashamed to name their sources. "Femaleness" should be appropriated as "greatness" and not as an obstacle.