Why does the past seem so determinedly part of the present, particularly when it comes to a re-recognition of and resurgence in women’s agency and art? There are so many reasons, but this dual exhibition brings us back to the female body with a renewed sense of intimacy and immediacy. When Judy Chicago’s “The Dinner Party” and then the “Birth Project” riled up the arts scene 30 years ago, their iconic imagery and modes of fabrication were largely dismissed by white male critics. And yet, they revolutionized ideas about the content, materiality, and making of feminist art. Here, in two adjacent galleries, are screen prints, needle works, and textiles from Chicago’s “Birth Project,” alongside a show with work in myriad media that explores post-feminist feminist responses to works like Chicago’s.