This paper analyses how three contemporary female artists approach Modernist architecture and its ideological context. Jasmina Cibic in her contemporary interdisciplinary installations addresses politization of architecture - both at the time it was conceptualised and now, when it is related to past political regimes. For Cibic, architectural objects are signifiers of larger narratives. This is how she approaches Slovenian trade fair that was supposed to be realised in 1941, but has never been, numerous renovations of the former summer residency of Yugoslav president Josip Broz Tito, lack of documentation on the Pavilion of Kingdom of Yugoslavia at the 1929 World Expo and the Palace of Yugoslav Federal Executive Council. In the case of Dusica Drazic, the paper focuses on her work New City, a large maquette of a non-existing city that contains buildings chosen from projects that were actually built but eventually destroyed. Katarina Burin fabricates sketches, documentary materials, architectural scale models, technical drawings and furnishings which are aesthetically, technically and theoretically bounded to the architectural design of the 1950s, in order to create Gesamtkunstwerk which criticizes the absence of women from architectural history of the time.
