The following dissertation suggests that the inflexibility of feminist theory of the sixties, seventies and the early eighties, was crucial for the early promotion and marginalization of the work of certain artists. Therefore, this study will focus on investigating how the practice, mainly photographic of Hannah Wilke and Cindy Sherman, attains to related to the feminist discourse and theory of the sixties, seventies and eighties and how this affects the promotion of the same artists. Within the course of the study, it appears that the wish of the feminist movement of promoting a strong image of the movement, allow the promptly sponsorship of Cindy Sherman’s work, while on the other hand a marginalization of Hannah Wilke’s work is produced. At the same time, this research paper states that when the feminist theory faces the postmodernist theories, the work of Hannah Wilke can be reassessed and read in a different way. To bring out these cases of artistic validation and promotion that occurred within the American feminist movement, are essential in the Ecuadorian context, so that the emerging gender and feminist movements acknowledge the importance of achieving a bidirectional communication between the theoretical development and artistic practice.
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