·         Nevelson never self-identified as a feminist artist and didn’t want her gender to define her. However, her strength and struggle to rise to prominence in a male-dominated art world makes her an important figure to feminist artists.

·         At first critics considered her sculptures masculine, but Nevelson spoke up about the autobiographic nature of her works. She proved sculpture and femininity could go together.

·         In her own words, Nevelson often worked in black “because black encompasses all colors. Black is the most aristocratic color of all. There is no color that will give you the feeling of totality. Of peace. Of greatness. Of excitement. I have seen things that were transformed into black, that took on just greatness. I don’t know a lesser word.”

·         Nevelson studied etching at Atelier 17 in New York in 1947 and later collaborated with the Tamarind Institute in 1963, working with five printers there to create editions of lithographic prints. The lithographs were mostly untitled and were created by using various found materials on the lithographic stone drawings