The Science Question in Feminismfocuses on the prevailing gender inequality in science. It brings 20th-century female scientists to the fore in a series of seven photomontages presented in single ‘vitrines’. The Science Question in Feminism is made from the assumption that while scientific results can arguably be regarded as factual and objective, there is little doubt that the complex structures that surround the scientific knowledge production are socially constructed. These structures have rarely been favourable to women, who systematically have been excluded from formal and informal scientific networks. In The Science Question in Feminism –a titled borrowed from philosopher of science SandraHarding’s 1986 book –seven portraits of prominent scientists who made significant contributions within their field are put in context through layers of visual and textual information.The artwork was commissioned by the Riga International Biennial of Contemporary Art (RIBOCA). The biennial, titled "Everything Was Forever, Until It Was No More", is thematically linked to concerns central to Hamilton’s research. The biennial setting provided Hamilton an opportunity to work through questions relevant to herPhD research project Exploring Experimental Documentary. More specifically, it offered the chance to approach issues of gender inequality in science with a specific focus on scientists who, during the 20thcentury, worked in the Baltic and Nordic region in the fields of physics, chemistry and biology. The biennial’s main venue –the Former Faculty of Biology of the University of Latvia –contain a considerable amount of glass vitrines. Inside many of these glass cabinets, noticeable scientists from the Faculty’s past are depicted, the vast majority of whom are men. Hamilton’s photomontages were made as a counterpoints to these patriarchal glass vitrines. For Hamilton, the attentiveness to portraits of men dates back to one of her earliest projects. In Ireland, she followed midwives during 6 months at Dublin’s oldest and largest maternity hospital. She was at the time struck by the overwhelming domination of portraits of men on the walls, in the predominantly women oriented milieu that the maternity hospital is. When Hamilton was approached by RIBOCA to make a site-specific work for the biennial, it provided an opportunity to work through the issue of male domination in institutional milieus. The installation at the Riga Biennial makes up portrait 1 to 7 in the series The Science Question in Feminism.Each image is presented in a small glass box with textual information at the bottom plate. The images are made up of archival material, assembled to echo a photomontage aesthetic of the last century; it is visually inspired by the interwar era, particularly by political-aesthetic movements such as Dada and Constructivism. It also, somewhat more implicitly, engages with the 1920s and 1930s spirited belief in photography, where photography was seen as a progressive media which could advantageously and persuasively be used in the communication of scientific matters. In this body of work, it is important that the scientists are real –not fictional –i.e. that they have existed. The images are however, of course, not ‘mirrors of reality’ since the reality of gender discrimination in science does not allow itself to be represented through mere reflections. Rather, The Science Question in Feminism is an attempt to bring to the fore some of all the female scientists who throughout history have worked under unequal conditions; it is an attempt at a patchwork visual feminist history of science. Importantly, each vitrine contains information about the scientist’s work and legacy. The informational text –as well as the image –is printed on birch plywood before mounted into the glass vitrine. When the Riga Biennial was deinstalled in October 2018, The Science Question in Feminismwas transported to Sweden, to make up a substantial part of a donation made by the artist toChalmers University of Technology in Gothenburg. The donation is part of Hamilton’s aspiration to make the work available to audiences outside of the art context. To conclude, a brief note on RIBOCA, described on the biennale website as “a critical site of artistic experimentation and knowledge production, an activator of co-operation and exchange between local and regional actors and institutions, an instigator of generosity towards peers, and a barometer of current social, political and economic issues filtered through artistic practices.” https://www.rigabiennial.com/about