Andres Payan Estrada reflects on the history of abstract sculpture, focusing on how women artists from the 1970s onward have engaged materiality in ways that challenge traditional hierarchies. Estrada considers how fiber-based practices were often marginalized as “craft” and defined according to strict, gendered social constructs, in contrast to dominant materials like steel and concrete. Highlighting artists such as Yayoi Kusama, Sheila Hicks, and Lynda Benglis, Estrada emphasizes that their work was not only about gender critique but also about expanding material possibilities and questioning access within artistic production. He frames these practices as part of a broader rethinking of abstraction, material, and artistic agency.