GHWA begins from a simple and radical premise: to rewrite art history starting from what has been systematically silenced, misattributed, or erased.

This is not about adding a few women’s names to the margins of an unchanged narrative. It is about building an alternative canon (global, interdisciplinary, methodologically rigorous) one that treats painting and textile, sculpture and ceramics, architecture and performance, miniature and digital art as equally worthy of analysis.

The project spans five thousand years and six continents. It follows women artists through workshops and convents, Mughal courts and European academies, avant-garde movements and contemporary practices. It recovers works falsely attributed to men, names that disappeared from the archives, traditions dismissed as « minor » because they were practised by female hands.

The question Linda Nochlin asked in 1971, Why have there been no great women artists?, was a provocation, not a conclusion. This project is an answer.