The camera whirs. We see an artist studio. While a canvas is primed, the viewer hears a conversation unfolding. Director Christiana Perschon invited five Austrian artists – all born between 1936 and 1943 – to her studio in Vienna, to speak with them about their art and to show it. What was it like to be an artist in the 70s? The five women were, at that time, part of the Viennese feminist artistic avant-garde. However, they received little to no public attention. They speak about the difficulties, female artists face in a man-dominated art world. They recall rejections from galleries that never exhibited work by women – or at the most once a year. They remember expectations as, it was a woman’s roll to become house wife and mother, and they recollect certain questionable experiences at the academy, where, amongst other dubious occurrences, professors scribbled in their drawings. The misleading reference to the presence of the two exceptional female artists Valie Export and Maria Lassnig was a popular argument against the actual absence of female representation in the art world. Because of experiences like this, it was a matter of course that the women should become feminists. They established networks for female artists and, in their art, dealt with the issue of these social hindrances with fantasy and variety. Besides the conversations, the film focuses on the artistic work itself. The white canvas functions as a projection screen for the artists’ stories and their works from that period. The camera, as an interposing apparatus, explores subtle shapes, transforming the art works into cinematic pictures and bringing them to motion. The director documents and stages the emergence of the art as a dialogue with the camera. It becomes a sensory experience in which the viewer is shown how close to life art really can be. The film leaves the viewer with a request to explore more art, and gives young female artists the courage to go their own way.