In the 1930s and 1940ss, Hannah Ryggen creates a series of large-scale anti-fascist tapestries. As The Met says, "Despite her remote location, she was remarkably attuned to the political tumult of her time, and her narrative textiles fiercely critique authoritarianism, war, and abuses of power. Her practice, steeped in representation, pushes against the notion that textiles are a craft based on patterns and decoration." When the war came to Norway in 1940, Ryggen's husband was arrested and sent to Grini prison camp where he was forced to paint warning signs for minefields, as depicted in Grini (1945).