The decade preceding the creation of Horn’s Finger Gloves (1960s) saw plenty of socially and politically rooted movements advocating for women’s rights, and the art world did nothing but reflect this trend. The Feminist Art Movement (refereed to as FAM) saw its peak during the 1970s when Horn was creating her most renown body sculptures. The aims of this movement included the production of art that depicted realistically women’s daily lives -especially in domestic scenarios- as well as to alter both the production and reception of contemporary art. The body of work produced by women adhering to the FAM did not comprise only paintings to sculptures, but saw an intensification of collaborative installations and performance art pieces. The year preceding the production of Horn’s Finger Gloves saw the publishing of Linda Nochlin’s controversial essay Why Have There Been No Great Women Artists? Horn produced the majority of her work in the time frame of the FAM which is referred to as the First Wave of Feminist Art, in which women artists adopted radical and sometimes unsettling approaches to art making, exploring women’s femininity through depictions of female nudes, female genitalia and menstrual blood. Horn seems to explore the relationship between the human body and the space around it without using gender disparity as a means to achieve recognition and approval from viewers. Her body sculptures seem to never exploit female nudity in order to draw spectatorial attention to her work, but almost engage in a scientific exploration of the relationship between man and the environment in which he lives in. Also, the industrial nature of her work makes it adaptable both to men and women.​