Heresies was a feminist publication on art and politics published between the 1970s and 1990s in New York City. Heresies was run by a collective of feminists—”some of whom are also socialists, marxists, lesbian feminists or anarchists”—who decided together the theme of each issue, which would then be edited by a smaller group who were particularly interested in the subject matter.

This fourth issue features “Mexican Folk Pottery” by Flora Kaplan, “The Aesthetics of Oppression” by Judith Friedlander, “Is There a Feminine Aesthetic?” by Silvia Bovenschen, and “The Martyr Arts” by Arlene Ladden with other contributions from Elizabeth Riley, Joanna Russ, Carrie Rickey, Howardena Pindell, Teresa De Lauretis, Madeline Bumside, Linda Nochlin, Clara Jaqueman, Barbara Novak, Josephine Gear, Peg Weiss, Martha Keller, and Anni Albers.

Their masthead reads: HERESIES is an idea-oriented journal devoted to the examination of art and politics from a feminist perspective. We believe that what is commonly called art can have a political impact, and that in the making of art and of all cultural artifacts our identities as women play a distinct role. We hope that HERESIES will stimulate dialogue around radical political and aesthetic theory, encourage the writing of the history of femina sapiens, and generate new creative energies among women. It will be a place where diversity can be articulated. We are committed to the broadening of the definition and function of art.