‘Fear of the Intellectual Wife’ (1987) is a small painting with a big message. It is appropriately placed in New Hall Art Collection which is housed at the University of Cambridge’s all-female Murray Edwards College, where there are many intellectual women - wives or otherwise.
Hunter’s works are often both humorous and serious in tone. In the series ‘Sexual Rapport’, for example, she reversed the male gaze by turning her camera on men – builders and policemen - going about their everyday lives and then labelled each photograph ‘Yes’, ‘No’ or ‘Maybe’, based on how much sexual chemistry she felt she had with them.
When Hunter moved to London in 1972 and joined the Artists Union Women’s Workshop in London she often found it difficult to find work, because her art was explicitly feminist. Now she is considered central to the development of radical feminist art and her work has been displayed at museums such as the Brooklyn Museum and Goldsmiths Centre for Contemporary Art.