Female artists currently account for 51 percent of all artists, according to the National Museum of Women in the Arts in Washington, the largest art museum in the world that collects works of art exclusively by women. Yet in the art market, where the big money is at stake, they are still a minority (cf. Deutsche Welle, n.d.). If we take into account the annual Capital Art Compass, the imbalance is once again highlighted: There are just two female artists in the top ten, despite the fact that they represent half of the art market (cf. Luckwaldt, 2022). The social order, or as Pierre Bourdieu would more appropriately designate it as symbolic, is thus still a 'masculine' one. As the title 'subversive' might possibly suggest, the tour is euphemistically called about the demand of a change of perspective, although a positive trend can be seen and women are increasingly not only perceived as artists, but also acknowledged as such. Nevertheless, women still encounter more difficulties, especially in the realm of public sculpture and public art. This circumstance will reflect the selection of artists to be discussed, focusing exclusively on female artists and their monuments. Not to reproduce the criticized structures in an upside-down sense, but rather to draw attention to what we take for granted and replicate on a daily basis.