Helène Aylon (b. 1931) is among the first generation of feminist artists who identified and challenged traditional patriarchal and misogynist readings of ancient religious texts. This article analyzes the discourse and examines the reception of Aylon’s work The Liberation of G-d (1990–1996) within the Jewish art world and the American Conservative Jewish community, and her contribution to these two diverse audiences. Despite the work’s confrontation with tradition, some rabbis from the Conservative movement played a significant role in the acceptance of the work and its exhibition in the Jewish Museum in New York and other Jewish institutions. However, they reduced its radicalism, reframing the work as a Midrashic interpretation (a form of traditional rabbinic commentary) that operates within the framework and rules that delineate the traditional Jewish interpretive community. This article analyzes how the rabbis tamed the artist’s activist and critical work. I argue that Aylon challenges the Jewish community with a radical feminist discourse that is often omitted from the dominant discourse of the traditional Jewish community. By analyzing the engagements with and reception of Aylon’s work within the Jewish art world and the Jewish Conservative community, I demonstrate how the artist seeks real social engagement that reaches beyond the walls of the museum, challenging the structures of religious patriarchy while engaging in a dialogue with its representatives.

海伦·艾隆（HelèneAylon，生于1931年）是第一代女权主义艺术家之一，他们发现并挑战传统的父权制和厌恶女性主义的古代宗教文本。本文分析了话语，并考察了艾隆的著作《解放的上帝》（1990-1996年）的接受情况。她在犹太艺术界和美国保守派犹太社区中的地位，以及她对这两个不同受众的贡献。尽管该作品与传统背道而驰，但保守党运动中的一些拉比在接受该作品及其在纽约犹太博物馆和其他犹太机构的展览中发挥了重要作用。但是，他们减少了激进主义，将作品重新定义为Midrashic解释（一种传统的拉比评论），这种描述在描述传统犹太解释社区的框架和规则内运作。本文分析了拉比如何驯服艺术家的激进主义者和批判性作品。我认为，艾隆以激进的女权主义话语挑战犹太社区，而传统的犹太社区的主流话语常常忽略了这种激进的女权主义话语。