Kubota’s Fluxus performance was performed at the Perpetual Fluxus festival in 1965. Upon dipping the paintbrush into a pale of red paint, meant to invoke menstrual blood, she crouched over large rolls of white paper spread out on the floor, and pushed down against the paper to make marks. Painting in a horizontal direction above the painting surface is a gesture to the eastern calligraphic tradition as the individual movements painted with the brush created red script-like marks on a crisp white background. Kristine Stiles asserts that Kubota’s performance “[r]edefined Action Painting according to the codes of female anatomy”1 insofar as Jackson Pollack can be considered to have ‘masturbated’ and ‘ejaculated’ paint upon horizontal un-stretched canvas. Vagina Painting makes a comment on the tradition of masculine Action Painting, by trespassing on patriarchal aesthetics. Kubota’s spatial art practice is gestural and painterly and blurs the boundaries of masculinist approaches to artmaking. Vagina Painting is a cyclic expression of women’s difference that plays upon the semiotic between vagina as sexual organ and menstruation.