Miriam Schapiro is one of a handful of artists responsible for adopting feminism as a viable artistic concern. She moved with her husband, Paul Brach, to Southern California from New York in 1967, settling in as a professor at California Institute of the Arts. Judy Chicago was already at the school, and together they founded the country’s first Feminist Art Program. Before Schapiro moved from what she considered to be the male-centric art scene in New York, she was invited to be an artist-fellow at Tamarind. During that time, she was already at work on her Shrine series, paintings of four panels dealing with questions of the self. Having studied at Iowa under Mauricio Lasansky, Schapiro was an accomplished printmaker, and she had no trouble translating similar concerns to her printmaking. As in her Shrine paintings, this lithograph is one of four parts, in which the second panel makes a reference to her profession. An appropriate homage in style to the master 19th-century printmaker Henri de Toulouse-Lautrec, the image depicts the female artist studying her prints as a male printer pulls the work through the press.