My dissertation studies four women artists working between Buenos Aires and Europe in the 1970s: Lea Lublin, Marie Orensanz, Mirtha Dermisache, and Margarita Paksa. During the military dictatorships of that decade, many artists developed conceptual tactics – including ephemeral and performance-based works, coded uses of language, found objects, and environmental installations – to critique the regimes in power. Though these four artists played an important role in the development of conceptual art and contributed to a crucial stage in contemporary art of Argentina, little scholarly attention has been devoted to their work. By examining these women artists' work and relationships – both with each other and with local and international art circuits – my project connects the convergent historical specificities of nascent feminism and nascent conceptualism in Argentina. This project moves away from an exclusively political or economic, and thus transactional, understanding of conceptual art in Latin America. It demonstrates the gendered, affective, and provisional nature of labor and language in articulating not only an art practice under dictatorship but also the very narratives of conceptual art.