朱迪·芝加哥（英语：Judy Chicago，1939年7月20日－）生于一个左翼犹太家庭，美国女性主义艺术家，美术教育家。1969年首先在加州州立大学弗雷斯诺分校提出女性艺术课程，除了强调女性重新自我认同之外，也以女性集体合作虼创作方式，取代男性竞争的模式。1971年，她与米兰·夏比洛以及学生们，在校外祖一空屋，合作出引起各方关注的《女人屋》，除了展现女性生活经验中的幻想与现实外，并且再度肯定了向来被视为女性工艺的传统生活艺术制作，也点出女人一生为容颜所锁，害怕失去了容颜就失去男人。

在另外一出芝加哥所编写的《公斗母》表演剧里，她用夸张的两性性器批判男权意识中的家庭职责划分。1973至1979年间，芝加哥与数百多名支持者长筹合作而完成《晚宴》的巨型装置，正式以女性阴户作为女权的象征。在这个三角形的金宇塔式平台上，记着999位在历史上较具代表的女性金色名字，桌面上放的是，29套由女性阴户转型而来的陶瓷餐具，餐具下垫着39片美丽的刺绣缝缀桌巾，每一位置纪念看39位具有代表性的女性历史人物。

Judy Chicago (born Judith Sylvia Cohen; July 20, 1939 in Chicago, Illinois) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces which examine the role of women in history and culture. Born in Chicago, Illinois, as Judith Cohen, she changed her name after the death of her father and her first husband, choosing to disconnect from the idea of male dominated naming conventions. By the 1970s, Chicago had coined the term "feminist art" and had founded the first feminist art program in the United States. Chicago's work incorporates stereotypical women's artistic skills, such as needlework, counterbalanced with stereotypical male skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which resides in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.