artists. In 1943, Fini was included in Peggy Guggenheim's show Exhibition by 31 Women at the Art of This Century gallery in New York. In 1949 Frederick Ashton choreographed a ballet conceptualized by Fini, Le Rêve de Leonor ("Leonor's Dream") with music by Benjamin Britten. In London, she exhibited at the Kaplan gallery in 1960 and at the Hanover Gallery in 1967. In the summer of 1986 there was a retrospective at the Musée du Luxembourg in Paris that drew in more than 5,000 people a day. It featured over 260 works in a variety of media. A tribute to the many artistic and creative avenues that her career took throughout her lifetime, the exhibition included watercolours and drawings, theatre/costume designs, paintings and masks. Many of Fini's paintings featured women in positions of power or in very sexualised contexts. An example of this is the painting La Bout du Monde where a female figure is submerged in water up to her breasts with human and animal skulls surrounding her. Madonna used the imagery in her video, "Bedtime Story" in 1994. In the spring of 1987, Fini had an exhibition at London's Editions Graphique's gallery. Her work didn't always fit the typical popular conception of surrealism, sometimes exploring the 'femme fatale' without any particularly ambiguous or monstrous imagery. Nonetheless it often included symbols like sphinxes, werewolves, and witches. Most of the characters in her art were female or androgynous. "The terrifying female monster and the adoring girl-child are socially constructed stereotypes continued by the male surrealists. In order to promote the liberated, autonomous woman, Fini purposefully destabilized these stereotypes by combining each construct in a single figure, so that sphinxes can be protective and creative while girls can be sensual and aggressive." Fini was also featured in an exhibition entitled "Women, Surrealism, and Self-representation" at the San Francisco Modern Museum of Art in 1999. In an attempt to subvert the roles imposed by society, she abandoned representations of fragile, innocent or fatal women in favor of goddesses inspired by Greek mythology. She applied herself to painting female figures who could not be categorized, judged or morally or sexually defined. Her painting has been described both as a challenge to Breton's ideals and an echo of her obligation to disguise herself during her childhood. She painted portraits of Jean Genet, Anna Magnani, Jacques Audiberti, Alida Valli, Jean Schlumberger (jewelry designer) and Suzanne