All works of art bear a certain message of their creator, his or her feelings and emotions that touch strings of the viewers’ hearts. The major aim of art is the ability to communicate some ideas, values, and concepts through generations, time, and space; every work of art becomes a part of the world’s cultural heritage able to accumulate everything humankind appreciates, fears, and worships, etc. At times works of art are heavily influenced by the moods dominating the epoch in which they are created; for this reason, art carries not only spiritual but at times historical value as well. The work that is the subject of today’s discussion is one of the works that combines the cultural, aesthetic, and historical-artistic value because of its creation in the period of the rise of feminism in the USA in the middle of the 20th century. The work is a piece of a sculpture titled “Sheet Closet” produced by Judy Chicago as a part of her site installation “Womanhouse” (Feminism in Art). As you can see, this piece of art shows a woman stuck in between the shelves of her sheet closet – the whole sculpture is done in pale yellow-whitish color, deprived of vividness and liveliness. The door of the sheet closet is open, and the woman is stuck in the center thereof. Sheets are lying on both sides of the woman in piles, and the woman seems to be split into parts by the shelves, with her head apart, with her hands locked, and with one leg stepping outside the closet and another one being firmly blocked by the lower shelves that are closed (Feminism in Art). “The Sheet Closet”, or as it is often called, “The Linen Closet”, is a typical work of art expressing feminist motives that gained force in the 1970s. The woman literally embedded between the shelves of her sheet closet, being unable to move or to leave it, symbolizes the cage that the household chores represented for a woman in the second half of the 20th century. Judy Chicago tries to show how ugly the cage is, and how miserable the woman in that cage feels because of no way out – she is not understood, and she has nothing else to do but to take care of her family and literally about the house that captivates her. Feminism as a social movement appeared only at the beginning of the 20th century and did not gain force and recognition until the 1950s-1970s. Women were living their miserable, deprived lives, they were stuck at home with cooking, ironing, and washing up, and their major fun was to meet with similar women to share some recipes or secrets of the household. Working mothers usually were single, and there is a great body of literature and art describing their awfully, inhumanely hard fate. However, it does not prove that women in full families were happy and their life was much easier than that of single mothers. Their labor was not seen and not appreciated because the whole family usually took it for granted. Thus, women simply had no private life apart from the family, and their value as personalities was measured by the borders of their house and garden. This is what is shown by the “Sheet Closet” – the woman who is the subject is silent, she does not make any attempts to get free, but her face expresses torture that she feels during many days, months, and years, so her silence and passiveness