To that end, Ugolini has selected a wide range of works by second-wave feminist artists to appear in the show. There are sculptures and photography by the influential Croydon-born artist Helen Chadwick, who became one of the first women artists to be nominated for the Turner Prize in 1987. There are photographs by the experimental German performance artist Annegret Soltau, showing her face bound painfully in black thread. There are young punks, middle-aged women and nude self-portraits.

Particularly striking is a wall of black and white self-portraits from 1969, titled Transformation, by the avant-garde Austrian feminist artist Renate Bertlmann. In the Seventies, Bertlmann’s work was considered so radical that it was frequently banned from museums: her most notorious pieces included a washing line hung with latex teats and condoms, and a performance called Pregnant Bride in a Wheelchair, in which she pretended to give birth in a Viennese gallery.

Yet the photographs in Transformation are wholesome, cheeky, funny and self-aware. Bertlmann is seen posing in sunglasses, pouting at the camera and making a fake moustache out of a lock of her dark hair. It’s a good rejoinder to the common perception of feminist art as dour, sour and dogmatic.

“Transformation was one of the first works where a woman artist investigated herself through what today is called a selfie: the art of portraying oneself,” explains Ugolini.

The radical feminist exhibition exploring the meaning of the ‘female gaze’