In the early years of feminist art, abstraction was seen as being part of the patriarchy and was therefore rejected by many women. The trouble with that idea was that in reality, many women were creating abstracts, including the lesbian feminist activist and artist who was the subject of Harmony Hammond: Becoming/Unbecoming Monochrome. This magisterial show was clearly the high point of a year's worth of exhibits on the theme of women in the arts at RedLine. Put together by guest curator and queer theorist Tirza True Latimer, the show focused on work Hammond had done in the '70s based on American Indian baskets, as well as related — and stunning — recent paintings, many of them the size of billboards. In the language of the movement, Hammond liberated abstraction from its domination by men.