Betsy Damon (born 1940) is an American ecofeminist artist whose work has been influenced by her activism in women's, gay, and environmental rights.

She then traveled to Germany but returned to the United States in 1968 where she learned of the Women's Movement from American artist Joyce Kozloff.

[11] She was a founding member of the Women's Caucus for Art and received the Mid-Life Career Award from the organization in 1989.

Her efforts in activist art influenced the annual San Antonio River clean up,[15] as well as educated many people on the importance of water.

From 1980 to 2000 Damon founded and directed No Limits for Women Artists,[22] an international organization that sought to improve female leadership and help men in becoming independent allies.

These calls gave women the opportunity to talk about their art, goals, motivation, and productivity.

3, (a Lesbian Art and Artists publication), Damon writes "I came out of the piece with a knowledge about the burden of time.

"[28] Damon performed the piece for the general public on Prince Street, with the assistance of artist Su Friedrich.

Friedrich adorned Damon's body with 400 bags of colored flour and confined herself to within a sand circle.

[28] Damon comments that after that performance "I never knew until that afternoon how completely all things female had been eradicated from our streets.

"[28] In a 1979 piece called Blind Beggarwoman and the Virgin Mary, Damon, as the central performer, dressed in rags and bags of dust, with gauze taped over her eyes.

Crouching over a begging bowl filled with more pouches, she asked the spectators to whisper stories from their lives to her.

"[30] Damon performed Rape Memory as part of the 1980 Great American Lesbian Art Show in Los Angeles.

[10] As part of the International Festival of Women Artists in 1980 in Copenhagen, Damon created an interactive installation piece.

[10] In 1985, Damon collaborated with artist Robyn Stein to lead a team of papermakers in the casting of a 250-foot section of dry riverbed in Castle Creek, Utah.

[31] Papermakers included Helmut Becker, Coco Gordon, Ray Tomasso, and Lucy Wallingford.

[33] On a subsequent visit, she traveled to the mountains north of Chengdu, where she was inspired by cultural attitudes about the sacredness of quality water.

[35] Avoiding explicit political commentary, these performances and temporary public art works dramatized the history and consequences of rapid industrialization along the river.

It includes a constructed wetlands that function as a biological water treatment system, a simulated natural forest community, and an environmental education center.