about an hour. It really jolted them" The interaction between the people who stayed to observe and talk about her work (rape scene) and the artist herself (Ana Mendieta) was a means of processing the actual crime that had occurred at the University of Iowa. Professor and art historian Kaira Cabañas writes about Untitled (Rape Scene): Her body was the subject and object of the work. She used it to emphasize the societal conditions by which the female body is colonized as the object of male desire and ravaged under masculine aggression. Mendieta's corporeal presence demanded the recognition of a female subject. The previously invisible, unnamed victim of rape gained an identity. The audience was forced to reflect on its responsibility; its empathy was elicited and translated to the space of awareness in which sexual violence could be addressed. In a slide series, People Looking at Blood Moffitt (1973), she poured blood and rags on a sidewalk and photographed people walking by without stopping until the man next door (the storefront window bears the name H.F. Moffitt) came out to clean it up. Involvement in the A.I.R. In 1978, Ana Mendieta joined the Artists In Residence Inc (A.I.R. Gallery) in New York, which was the first gallery for women to be established in the United States. The venture gave her the opportunity to network with other women artists at the forefront of the era's feminist movement. During that time, Mendieta was also actively involved in the administration and maintenance of the A.I.R. In an unpublished statement, she noted, "It is crucial for me to be a part of all my art works. As a result of my participation, my vision becomes a reality and part of my experiences." At the same time, after two years of involvement with A.I.R., she concluded that "American Feminism as it stands is basically a white middle class movement," and she sought to challenge the limits of this perspective through her art. She met her future husband Carl Andre at the gallery, when he served on a panel titled "How has women's art practices affected male artist social attitudes?" Her resignation in 1982 is attributed, in part, to a dispute instigated by Andre over a collaborative art piece the couple had submitted. In a 2001 journal article, Kat Griefen, director of A.I.R from 2006 to 2011, wrote, The letter of resignation did not cite any