In the beginning an image—daily police reports stamped on a wall in a gallery, part of a process work familiar at the time—gave way to a need, politically, that was translated into a public form. Why talk about rape in an art gallery when one could be raped on the way home from that space?

The demand for relevance led to the development of a public locale, the City Hall mall, as placement for a large map of Los Angeles. Each day Lacy went to Los Angeles Police Department’s central office to received confidential reports on the rape reports from the previous day. Crossing the street to the City Hall mall she stamped these locations on the map, each surrounded by fainter markings symbolic of the estimated nine additional rapes for every one reported.

As the map rapidly turned red, a second map, installed next to it and showing sites of resistance—organizations and self-help activities for violated women—revealed places and schedules for three weeks of activities, considered the movements in the extended performance.