based on Parker's book. Barnett describes that most historical studies of embroidery concentrate on questions of style and technique, where these exhibitions track the idea of femininity that was forced upon women through embroidery from medieval times, when it was considered a high art form practiced by both men and women, to its current denotation as a 'feminine craft'. But perhaps this exhibition, with both historical and modern shows side by side provoke new ideas into the more historical objects. Adding names and dates to the creation of the objects thrusts them into the art world once again. The context in which these women worked, varying greatly because of class, race, and gender, juxtaposed with contemporary work beside names, dates, and even poetry created a language and a new critical way of looking into this medium. As Ann Newdigate states in her essay "Kinda art, sorta tapestry: tapestry as shorthand access to the definitions, languages, institutions, attitudes, hierarchies, ideologies, constructions, classifications, histories, prejudices and other bad habits of the West", there was a shift in textiles after The Subversive Stitch was published. Craftivism within fiber arts Craftivism is the continuation of craft for political purposes by women. It's largely linked to third-wave feminism and also other Feminist movements such as the music movement Riot Grrrl. The term craftivism was coined by Betsy Greer in 2003, and runs Craftivist Collective, however it is technically not a new term. Germaine Greer, who advocates for the connection of women, nature, and craft, argued that women's craft should be in the home because it is a living art, not in a gallery or museum because galleries and museums are representative of dead male culture. Greer supports the use of textiles in different settings, of which craftivism almost always employs. Most recently, craftism and the fiber arts have served as an important channel for the expressive of social protest, an example of which is the women's marches after the election of Donald Trump in 2018 and the pussyhat phenomenon. Modern craftivist is knowing as handicraft because people use it to crafting to protest or transmitted information when they protest. Fiber arts today In Hoopla: The Art of Unexpected Embroidery, author Leanne Prain includes interviews with fiber artists from around the world about their work within contemporary art and commercial design. While each interview is tailored to the individual artist, Prain always asks, "Do you believe