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I’ve always been a wimpy sort of feminist. College women’s studies prompted me to tell my boyfriend how he couldn’t help being warped by our patriarchal culture. He married me anyway—and I willingly took his surname, though I hung on to my birth name in the middle like the queen clutching her useless purse between two useful hands. For the bridal registry, I was half-tempted to request the Judy Chicago china pattern, but few around me would have gotten the joke. Chicago’s most famous work, The Dinner Party, caused a stir in 1979, largely because of its plates bearing depictions of female genitalia. The installation might have been a polemical one-liner but for its meticulous and luminous execution. For about 40 years, Chicago has blended craft and art in this fashion to evoke breathing, fleshly life. NPR senior correspondent Daniel Zwerdling interviews Chicago at 6 p.m. at Borders, 14th and F Streets NW. Free. (202) 737-1385. (Pamela Murray Winters)