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Their art has always been fact-driven, and informed by the group's unique approach to data collection, such as "weenie counts." To be more inclusive and to make their posters more eye-catching, the Guerrilla Girls tend to pair facts with humorous images.

Although the Guerrilla Girls gained fame for wheat-pasting provocative campaign posters around New York City, the group has also enjoyed public commissions and indoor exhibitions.

Since 2005, the Guerrilla Girls have been invited to produce special projects for international institutions, sometimes for the very institutions they have criticized.

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They also took on projects outside of New York, enabling them to address sexism and racism nationally and internationally.

Though the art world has remained the group's main focus, the Guerrilla Girls' agenda has included sexism and racism in films, mass and popular culture, and politics. During its first years, the Guerrilla Girls conducted "weenie counts," such that members visited institutions like the Metropolitan Museum of Art and counted artworks' male-to-female subject ratios.

From the beginning the press wanted publicity photos. No one remembers, for sure, how we got our fur, but one story is that at an early meeting, an original girl, a bad speller, wrote 'Gorilla' instead of 'Guerrilla.' It was an enlightened mistake.

It gave us our 'mask-ulinity.'" Since 1985, the Guerrilla Girls have witnessed many positive changes, including an increased awareness of sexism and greater accountability on the part of curators, art dealers, collectors and critics.

The poster asked "What do these artists have in common? The Guerrilla Girls' first color poster, which remains the group's most iconic image, is the 1989 Metropolitan Museum poster, which used data from the group's first "weenie count." In response to the overwhelming amount of female nudes counted in the Modern Art sections, the poster asks, sarcastically, "Do women have to be naked to get into the Met. In 1990, the group designed a billboard featuring the Mona Lisa that was placed along the West Side Highway supported by the New York City public art fund.

" with the answer "They allow their work to be shown in galleries that show no more than 10% of women or none at all." The group were also activists for equal representation of women in institutional art, and highlighted artist Louise Bourgeois in their "Advantages to Being a Women artist," poster in 1988 as one line read, "Knowing your career might not pick up till after you're 80." The posters were rude; they named names and they printed statistics (and almost always cited the source of those statistics at the bottom, making them difficult to dismiss). For one day, New York's MTA Bus Company also displayed bus advertisements with Met. Stickers also became popular calling cards representative of the group.

The group formed in New York City in 1985 with the mission of bringing gender and racial inequality into focus within the greater arts community.

The group employs culture jamming in the form of posters, books, billboards, and public appearances to expose discrimination and corruption.

To remain anonymous, members don gorilla masks and use pseudonyms that refer to deceased female artists.

According to GG1, identities are concealed because issues matter more than individual identities, "[M]ainly, we wanted the focus to be on the issues, not on our personalities or our own work." In the spring of 1985, seven women launched the Guerrilla Girls in response to the Museum of Modern Art's exhibition "An International Survey of Recent Painting and Sculpture" [1984), whose roster of 165 artists included only 13 women.

Their posters revealed how sexist the art world was in comparison to other industries and to national averages.

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