In the 1990’s many young women artists emerge in many countries and continents. They can break through in the multiple art events, that are created worldwide. Still the Venice Biënnal remains the most important vehicle to show and promote women artists. This is because of its duration, its large public, its high press coverage and  the awards of the international jury. Examples are the South-African Marlene Dumas, the Libanese Mona Hatoum, the Columbian Doris Salcedo, the South-Korean Kimsooja. They work around globalisation, identity, postcolonialism, increasing  urbanisation, political violence and displacement. The British Tracey Emin, the Swiss Pipilotti Rist and two Belgian artists, Ann Veronica Janssens and Berlinde De Bruyckere also get world attention there. As of 2005, the art market welcomes talented young women artists of African origin: the Ethiopian-American Julie Mehretu, the Afro-American Kara Walker and since 2016, the Nigerian-American Njideka Akunyili Crosby.  They have become real stars. In the last years,  2019-2022, it is striking that there are hundreds of exhibits of women artists in contemporary art worldwide. Is this a breakthrough?