Judy Chicago’s representation of a used tampon in her photographic lithograph, Red Flag (1971) is characteristic of the American feminist objective.  She elaborates, “I wanted to validate overt female subject matter in the art community and chose to do so by making “Red Flag” as a handmade litho, which is a high art process, usually confined to much more neutralized subject matter. By using such overt content in the form, I was attempting to introduce a new level of permission for woman artists. It really worked.” At the time, she exhibited this work, some members of the audience assumed that it was a ‘blooded penis’. In response, Chicago commented that such confusion was “a testament to the damage done to our perceptual powers by the absence of female reality”. The practice of ‘menstrual denial’ was what Chicago was trying to abolish. In hindsight, the notion that the lithograph is something other than what it depicted, a blood soaked tampon, seems strange. However, given the widespread attitude towards menstruation as unspeakable and unshowable, it is logical to posit that this was one of the first images that depicted this routine action that women know intimately so well yet is so visually absent in western culture.
 Chicago had arranged for Hamrol to take a picture of her pulling out a bloody Tampax and print a photograph from which the lithographers would make a working negative.
 Delaney, J., M. J. Lupton, and E. Toth. The Curse: A Cultural History of Menstruation. New York: EP Dutton and Co. Inc, 1976, p. 275. It may have worked well in the 70s however, in post-modern society, women need to be more creative with the ways in which they explore menstruation.
 Rosewarne, L. Periods in Pop Culture: Menstruation in Film and Television. Lexington Books, 2012, p. 168. See also, Bobel, Chris. New Blood Third-Wave Feminism and the Politics of Menstruation. New Brunswick, N.J.: Rutgers University Press, 2010, p. 47.
 Delaney, Lupton, & Toth, 1998, p. 275.