In our research on, and analysis of the leadership styles and impact of women artists/activists, museums administrators, art historian activists, and art entrepreneurs, what emerged was the fact that when women hold policy level jobs in institutions, become activists, or introduce new concepts into art, art history, and curatorial practice, their presence changes institutions, studio practice, and even the discipline of art history. As discussed by Heather Iglioliorte, the only PhD in Canada who is Inuk, in her Art Journal article (volume 76, issue 2, 2017) our understanding of art changes when the interpretation of art is based on the cultural position of the artist rather than on neocolonial intellectual structures of art history. Iglioliorte's discussion focuses on how the art of indigenous peoples is viewed through the lens of the Western art canon because the sovereignty of museums is still mostly held by white European-descended curators, directors, and art educators. Analogously, we know that women artists were denigrated until the Feminist Art Movement of the 1970s initiated the changes that brought more women into positions of influence through their activism, innovations in art practice, curatorial efforts, critical writing, and leadership positions at museums. We invite artists, critics, and art historians who are thinking about the intersectionality of art, feminism, postcolonialism, and sovereignty to submit papers.