In the 1960s, Louise Fishman attended meetings of the radical feminist Redstockings and later participated in women artists' consciousness-raising group. Her interest in the sculpture of Eva Hesse led her to experiment in the early 1970s with sewing and found objects. By the end of the decade, Fishman established a practice of layered, gestural painting informed by feminism. Golem refers to the famous sixteenth-century Prague legend in which a rabbi used the name of God to animate a monstrous being. The pair of circles suggests the moment of the mythical creature's conception, replacing the male rabbi with the female artist as creator. Fishman's wide and vigorous brushstrokes have an intensity rarely seen since the height of Abstract Expressionism.