Question:
Sanjay Balraj Dutt (born 29 July 1959) is an Indian film actor and producer known for his work in Hindi cinema (Bollywood). The son of veteran Hindi film actors Sunil Dutt and Nargis Dutt, he made his acting debut in 1981 and has since appeared in more than 100 Hindi films. Although Dutt has enjoyed great success as a lead actor in genres ranging from romance to comedy, it has been the roles of gangsters, thugs and police officers in the drama and action genres that have won him much appreciation. The Indian media and audiences alike popularly refer to him as Deadly Dutt for his larger-than-life portrayals of such characters.
Sanjay Dutt made his Bollywood movie debut with the box office hit Rocky in 1981. He went on to star in Vidhaata, the highest grossing Hindi film of 1982 along with the super hit Main Awara Hoon (1983). In 1985 he shot for his first film in three years, Jaan ki Baazi (1985). This was Sanjay's first film post what is now referred to as his drug phase years, when personal problems and a number of films that had been completed before his departure to the USA flopped at the box office, after which he had contemplated not returning to films. Jaan ki Baazi marked a comeback for Dutt and he appeared in successful films throughout the 80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989), and Taaqatwar (1989). The 1986 blockbuster Naam was Dutt's first major critical success and a turning point in his career, the film firmly cemented him amongst India's finest young mainstream leading actors as he earned praise for his portrayal of an illegal immigrant in Dubai who spirals into a life of crime. His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar. were also both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol. His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan, and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khal Nayak, for which he earned his second Filmfare Best Actor Award nomination. Three weeks before its release, however, in April 1993, he was arrested, charged with involvement in the 1993 Mumbai bombings. Dutt was unable to act for the next four years due to his subsequent arrests and bails. Although many incomplete films were released featuring Dutt during this time, all of them were unsuccessful except for the 1994 hit Aatish with Aditya Pancholi, which was completed before his 1993 arrest.
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WHat was the public take on it?

Answer:
in April 1993, he was arrested, charged with involvement in the 1993 Mumbai bombings.

Question:
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.
While at UCLA, she became politically active, designing posters for the UCLA NAACP chapter and eventually became its corresponding secretary. In June 1959, she met and became romantically linked with Jerry Gerowitz. She left school and moved in with him, for the first time having her own studio space. The couple hitch hiked to New York in 1959, just as Chicago's mother and brother moved to Los Angeles to be closer to her. The couple lived in Greenwich Village for a time, before returning in 1960 from Los Angeles to Chicago so she could finish her degree. Chicago married Gerowitz in 1961. She graduated with a Bachelor of Fine Arts in 1962 and was a member of the Phi Beta Kappa Society. Gerowitz died in a car crash in 1963, devastating Chicago and causing her to suffer from an identity crisis until later that decade. She received her Master of Fine Arts from UCLA in 1964. While in grad school, Chicago's created a series that was abstract, yet easily recognized as male and female sexual organs. These early works were called Bigamy, and represented the death of her husband. One depicted an abstract penis, which was "stopped in flight" before it could unite with a vaginal form. Her professors, who were mainly men, were dismayed over these works. Despite the use of sexual organs in her work, Chicago refrained from using gender politics or identity as themes. In 1965, Chicago displayed work in her first solo show, at the Rolf Nelson Gallery in Los Angeles; Chicago was one of only four female artists to take part in the show. In 1968, Chicago was asked why she did not participate in the "California Women in the Arts" exhibition at the Lytton Center, to which she answered, "I won't show in any group defined as Woman, Jewish, or California. Someday when we all grow up there will be no labels." Chicago began working in ice sculpture, which represented "a metaphor for the preciousness of life," another reference towards her husband's death. In 1969, the Pasadena Art Museum exhibited a series of Chicago's spherical acrylic plastic dome sculptures and drawings in an "experimental" gallery. Art in America noted that Chicago's work was at the forefront of the conceptual art movement, and the Los Angeles Times described the work as showing no signs of "theoretical New York type art." Chicago would describe her early artwork as minimalist and as her trying to be "one of the boys". Chicago would also experiment with performance art, using fireworks and pyrotechnics to create "atmospheres", which involved flashes of colored smoke being manipulated outdoors. Through this work she attempted to "feminize" and "soften" the landscape. During this time, Chicago also began exploring her own sexuality in her work. She created the Pasadena Lifesavers, which was a series of abstract paintings that placed acrylic paint on Plexiglas. The works blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," representing her own discovery that "I was multi-orgasmic." Chicago credited Pasadena Lifesavers, as being the major turning point in her work in relation to women's sexuality and representation.
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Did she create a famous piece during her early years?

Answer:
These early works were called Bigamy, and represented the death of her husband.