Decades before conversations about women's bodily autonomy became central to contemporary art, sculptor Carole Feuerman was already talking about it. I Am Mine, Without Permission returns to her early work of the 1970s and 80s—fragmented torsos, isolated limbs, hands clutching fabric, bodies pressing through walls—many considered too provocative for widespread exhibition at the time. Viewed today, nearly fifty years later, they feel remarkably contemporary.