By Gloria McMillan, WILPF Tucson Branch member
“While female bodies have historically comprised the vast majority of subjects for nudes in Western art—often cited at around 85% in major museum collections—the percentage of recognized and critically acclaimed painters of these classical nudes who are women is exceptionally low, generally estimated to be well under 5% throughout history!” -1980s analysis by the Guerrilla Girls
The University of Arizona’s Campus WILPF Branch marched from the social sciences building to the University of Arizona Museum of Art at noon on March 4, 2026, to mark our March Fo(u)rth event. The event celebrated Margaret Bailey Doogan and her work dedicated to women’s rights. A small but spirited group joined us, attracting curious looks as we carried a large sign and sang our songs.
After arriving at the museum, we met the Raging Grannies. My friend and fellow activist, Manon Getsi, and I joined in their singing. We also handed out “How to Join WILPF” flyers to the amused museum front desk staff, who expressed interest and agreed to post one on their board.
The centerpiece of the exhibit was a vast collection of the late Margaret Bailey Doogan’s work, displayed in a grand hall. Doogan’s career spanned from creating the iconic “Morton Salt” girl on Madison Avenue to later works like “Pour It On,” a powerful parody critiquing corporate imagery, the male gaze, and society’s treatment of aging women’s bodies. Notably, Doogan depicted people of all genders, embracing inclusivity. Inside the Museum of Art, we were greeted by Bailey Doogan’s daughter, Moira Doogan, who played a key role in organizing the exhibit.
Many of Doogan’s paintings are closely connected to the U.N.’s annual CSW conference. For example, her earlier “Punch and Judy” series presents Punch as a stark symbol of irrational male domination and violence. During our march, one participant added a personal perspective: his wife, who comes from the nobility of an Asian country, was raised in a culture where women are expected to obey their husbands in nearly all matters. He chose to remain anonymous, as his wife still adheres to these traditional values.
Building on the themes highlighted in the exhibition, Moira Doogan gave the Grannies and me a tour of her mother’s powerful works. Four paintings created during the 2003 Gulf War felt especially relevant. As Doogan once said, “It’s as hard to see our own bodies as it is to see what our nation is doing in Iraq.”
Moira thanked WILPF for our unwavering resistance to censorship. She was instrumental in mounting this ambitious exhibit, a testament to both her mother’s prolific career and her own dedication.
Doogan’s Work Draws Continued Censorship and Solidarity
Doogan’s bold critiques of militarism and male dominance have consistently faced censorship, and this exhibit was no exception. A bookbinder refused to print her catalog, and the University of Arizona PBS TV station declined to cover this retrospective exhibit.
On a positive note, we’ve built strong connections with the University of Arizona’s faculty. A University of Arizona news outlet, Arizona Sonoran News, covered the exhibit.
Previously, illustration professor Kelly Leslie brought her art class to learn about WILPF and engage with us (and enjoy some pizza!). More recently, our Campus WILPF sponsor, journalism professor Kendall Blust, sent two student reporters to cover our activities. Professor Leslie also arranged for the Raging Grannies to rehearse in a classroom, giving students in the atrium an impromptu concert—including “Keep Your Bans Off My Body” and other favorites.
Living Doogan’s Legacy Today
As an illustration student of Doogan’s at the University of Arizona in the late 1970s, I was continually impressed by the many ways Peggy—as we called her—challenged systems of male dominance and oppression. If only we had Peggy in WILPF!
Still, her spirit lives on in our members and the actions we take together against war, militarism, and patriarchy.
Doogan’s art continues to be a guide for these times. Encourage your local librarian to visit baileydooganart.com and order a copy of the formerly censored “Ways of Seeing,” the comprehensive retrospective catalog of Doogan’s work.
You can also watch a 1986 interview with Doogan called “Seeing to the Bone,” available for free on YouTube.
