Eleanor Antin has always loved to shock. In 1965, she began work on a conceptual piece called Blood of a Poet Box, for which she took blood samples from poets—including Allen Ginsberg and Lawrence Ferlinghetti—and placed them on slides, eventually collecting 100 samples. Four years later, she created a portrait titled Molly Barnes, made from, she explained, “a lush lavender bath rug, a noisy electric Lady Schick razor, a patch of spilled talcum powder, and a scattering of pink and yellow pills.” Many of Antin’s works are feminist, and she’s experimented with a wide range of media, from film to installation to drawing. Antin is now 90 and this show at MUDAM is her first major retrospective since 1999. It presents the full breadth of her oeuvre. —Elena Clavarino