Martha Boesing

[1] Boesing's work with AFOM used radical feminist analysis to create political theater about rape culture, United States imperialism and neocolonialism, and the Cold War nuclear arms race.

[5] She left the company in 1984 as the collective struggled with issues of leadership and hierarchy, as well as criticisms of its lack of inclusivity and white feminist politics.

)[2] As co-director of the Children's Theatre, she became embroiled in the 1984 sex-abuse allegations surrounding the theater's employment of John Clark Donahue, who later pleaded guilty to sexual misconduct with students.

In subsequent investigations, Boesing admitted that she had been aware of his history as a known predator when she hired him, and described herself and others in leadership positions as complicit in the crimes because of their choice to remain silent.

Standing on Fishes (1991), which included mask work and audience interactivity, used poetic language and gesture to explore mass extinction from the animals' point of view, decrying the destructive effect humans have had on the global environment.

Boesing's style juxtaposes individual stories about human relationships with global power structures and historical events, exploring the personal and the political in keeping with the concerns of the second-wave feminist movement.