In 1989, a provocative question — "Do women have to be naked to get into the Met?" — appeared on New York City buses. The message featured an image of Ingres' Odalisque, a famous painting of a female nude, with a gorilla head replacing the woman's face. This striking image was created by the Guerrilla Girls, an anonymous collective that has been challenging sexism in the art world for 40 years. At the time, less than 5% of the artists in the modern art sections of the Metropolitan Museum of Art (Met) were women, while 85% of the works displayed were female nudes. This poster became an enduring symbol of feminist art and activism. Joyce Kozloff, an 83-year-old American artist associated with the Pattern and Decoration (P&D) movement, recently told Art Journal Open that she was one of the seven founders of the Guerrilla Girls. She had previously used the pseudonym "Liubov Popova," in honor of a Russian avant-garde artist who died in 1924. Kozloff decided to reveal her involvement in the group, which had remained secret for decades. Her disclosure adds a new layer to the history of the collective, which has long operated in anonymity. The Guerrilla Girls were formed in 1984 in New York after the Museum of Modern Art (MoMA) exhibition "An International Survey of Recent Painting and Sculpture" included only 13 women out of 169 artists. Members of the WAVE (Women Artists Visibility Event) group protested outside the museum, but their efforts had little impact. A year later, seven of them decided to adopt a new approach. They wore gorilla masks, used the names of deceased female artists and intellectuals — such as Frida Kahlo, Alice Neel, and Hannah Höch — and named their group the Guerrilla Girls. They used advertising techniques, highlighted statistics, and employed humor to express their frustrations, all while remaining anonymous. Kozloff explained that the goal was to focus attention on the issues, not on the individuals behind them. She left the group in 1991 and continued her artistic work focused on mapping and power dynamics. The Guerrilla Girls' use of humor became a powerful tool for critique. In 1988, they created a satirical list titled "The Advantages of Being a Woman Artist," which humorously highlighted the challenges and stereotypes faced by women in the art world. The list pointed out the lack of pressure to succeed, the ability to escape the art world through other jobs, and the embarrassment of being called a genius. It underscored the precarious position of women in the art world and the erasure of their contributions to art history. According to The Guardian, 55 women have been part of the Guerrilla Girls since the group's founding, and only a few identities have been revealed, mostly after the members' deaths or legal issues. Four decades later, the Guerrilla Girls have become an institution. However, the paradox remains: their work is now preserved in the very museums they once criticized. The Whitney Museum of American Art in New York holds 120 of their works, and the Met itself preserves several of their provocative posters, including the famous "Do women have to be naked..." In France, the Centre Pompidou houses their Compleat Portfolio, which includes 129 projects created between 1985 and 2016. Despite this recognition, the Guerrilla Girls' questions remain as relevant as ever: Who exhibits? Who collects? Who writes the history of art? And who still remains at the door?