Since the early 1960s Dorothy Iannone born 1933 has occupied herself with the attempt to represent ecstatic unitythe union of gender feeling and pleasure as she describes itresulting in a body of frequently autobiographical work encompassing painting drawing collage objects and publications. This volume examines the censorship of Iannones work using her 1970 artists book The Story of Bern as a starting point. Iannones works were removed from an exhibition at Kunsthalle Bern in 1969 after the