High historical importance. Rosler seems to point to the metaphoric through the literal: she uses kitchen tools as weapons, revealing the power already at her fingertips to investigate the oppressive relationship between women and language.
This short film fulfills its utility as a righteously bitter demonstration of a branding of mostly white women into a mirage of statically pleasant experiences of unpaid domestic labor that is internalized as requisite for a stable maintenance of order within the structural nuclear family, despite implicit rigidity and lack of comfortable autonomy. Rosler neatly satirizes ethical models of post-war familial politics.
A punk as f*ck early video art conflating confrontational feminism and semantic comedy. Belongs alongside Buster Keaton and the Marx Bros. It's also interesting historically, as women making art outside of the classical plastic arts (painting, sculpture, etc) due to being marginalized and ignored by institutional art world. A lot of the later forms (film/video, and performance) have a stronger presence...
"I was concerned with something like the notion of Ôlanguage speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity."