The thesis investigates a set of artistic practices that materialized women’s resistance to the imperatives of social reproduction, either by prefiguring, paralleling, or actively participating in the Marxist feminist struggle that unfolded in Italy during the 1970s. It focuses in particular on a constellation of paradigmatic works by artists Carla Accardi, Amalia Del Ponte, Nicole Gravier, Libera Mazzoleni, Marisa Merz, Anna Paci, Clemen Parrocchetti, Lydia Sansoni, and Suzanne Santoro, as well as by the feminist art collectives Gruppo Femminista Immagine di Varese, Le Pezze, and Gruppo del Mercoledì. Operating along parallel and at times intersecting trajectories, these artists and collectives devised diverse artistic strategies aimed at dispelling the foundational myths of modern art—myths that deprived women of creative agency and confined them to submissive roles, thus perpetuating the mechanisms of social reproduction. By appropriating art and mobilizing its capacity to render such mechanisms legible, and therefore transformable, these women emerged from the private sphere not only as creative but also as political subjects, that is, as revolutionary subjects engaged in the subversion of the domestic landscape and of the broader world beyond it. The ultimate purpose of this thesis is to shed light on the contribution of art to the denaturalization of reproductive labor and to the reconfiguration of the sexual division of labor that has historically structured both the socioeconomic and artistic spheres.