This article examines the curatorial impulses of three exhibitions that are part of a recent flurry of shows which have focused, either directly or indirectly, on centuries of women’s marginality and invisibility in the
arts. The exhibitions: ‘369 Remembered – The Women’; ‘Self Portrait as Saint Catherine of Alexandria’ and ‘The Future is Female’ all build on the historiography of feminist and women’s art that’s been evident for more than half a century. In this review, attention is focused on the curatorial practices rather than the artworks themselves in order to explore how knowledge is embodied within curatorial processes.