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Artist Judy Chicago cooked up her version of women’s history, The Dinner Party, between 1974 and 1979. It’s three long tables locked into a giant triangle—48 feet on each side—with personalized place settings for Chicago’s pantheon of significant women, both real and mythical: Virginia Woolf, Georgia O’Keefe, and Hatshepsut break bread with the Primordial Goddess. In its 15 showings in the United States and abroad, the piece has been seen by more than a million people. Yet today it’s stored in crates because no museum will offer it a permanent home. What’s not palatable here? Vulvas, that’s what: Each place setting boasts a porcelain plate with Chicago’s interpretation of its owner’s genitalia rendered in graphic ’70s style. Looks like Chicago’s work has suffered the same fate—the marginalization of women’s history—that women artists have been fighting all these years. Today, University of Maryland doctoral candidate Mary Jo Aagerstoun examines the troubled history of the work in a slide-illustrated lecture at 6:30 p.m. at the Sumner School Museum and Archives, 1201 17th St. NW. Free. (202) 727-3419. (Jessica Dawson)