Problem: Background: Irving Fisher (February 27, 1867 - April 29, 1947) was an American economist, statistician, inventor, and Progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the Post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman. Fisher made important contributions to utility theory and general equilibrium.
Context: Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society. In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Leon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth. After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president. Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding of the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929. Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, Prohibition, and eugenics. He died in New York City in 1947, at the age of 80.
Question: How did he do as a professor?
Answer: He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations.

Problem: Background: Judy Chicago (born Judith Sylvia Cohen, July 20, 1939) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. By the 1970s, Chicago had founded the first feminist art program in the United States. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with labor-intensive skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.
Context: In 1970, Chicago decided to teach full-time at Fresno State College, hoping to teach women the skills needed to express the female perspective in their work. At Fresno, she planned a class that would consist only of women, and she decided to teach off campus to escape "the presence and hence, the expectations of men." She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program, a full 15-unit program, in the spring of 1971. This was the first feminist art program in the United States. Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno. Here they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. All of the students and Chicago contributed $25 per month to rent the space and to pay for materials. Later, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program at California Institute of the Arts. After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992. Chicago is considered one of the "first-generation feminist artists," a group that also includes Mary Beth Edelson, Carolee Schneeman, and Rachel Rosenthal. They were part of the Feminist art movement in Europe and the United States in the early 1970s to develop feminist writing and art. Chicago became a teacher at the California Institute for the Arts, and was a leader for their Feminist Art Program. In 1972, the program created Womanhouse, alongside Miriam Schapiro, which was the first art exhibition space to display a female point of view in art. With Arlene Raven and Sheila Levrant de Bretteville, Chicago co-founded the Los Angeles Woman's Building in 1973. This art school and exhibition space was in a structure named after a pavilion at the 1893 World's Colombian Exhibition that featured art made by women from around the world. This housed the Feminist Studio Workshop, described by the founders as "an experimental program in female education in the arts. Our purpose is to develop a new concept of art, a new kind of artist and a new art community built from the lives, feelings, and needs of women." During this period, Chicago began creating spray-painted canvas, primarily abstract, with geometric forms on them. These works evolved, using the same medium, to become more centered around the meaning of the "feminine". Chicago was strongly influenced by Gerda Lerner, whose writings convinced her that women who continued to be unaware and ignorant of women's history would continue to struggle independently and collectively.
Question: Did she exhibit any of her work?
Answer:
the first art exhibition space to display a female point of view in art.