Marisa Merz and Lygia Pape, now on view at The Met Breuer, make the case that "having it all" has been something women artists have been juggling forever. Merz in Italy and Pape in Brazil managed to find a way to combine a domestic life with a life of ground breaking art production by not trying to cleave the two with such vehemence. Merz's little chairs for her daughter Beatrice, Pape's furry table with a lone breast sticking out of it make mincemeat of the idea that a woman at home with a child cannot be productive. Both politically engaged and willing to experiment with form and the whole notion of what "art" is, the two form an interesting juxtaposition with Marsden Hartley who felt he had to obscure his sexuality and separate out his private life. Tucked away in remote Maine, he was able to have more of an integrated life.