Marija Bebić's graduation thesis titled The Taste of Pain is a series of works connected to the same topic mentioned in the title of the thesis. The work is an installation composed of several fragments, each of which works on its own. However, in relation to each other they form an extremely strongly connected whole. The author draws from herself in an effort to penetrate the depths of her own negative experiences and to analyze the traces that this experience has woven into her being. She decides to tell a very complex story, the content of which is written in this text. During the process of realization of the thesis, the author's full participation of mind and body was emphasized. The struggle between the author and the work is evident. Layers of the author's subjective experiences, which are otherwise invisible, have become visible, so that in the end, the work seems to be permeated by extreme conditions, certain kind of violence, suffering and pain. Despite the rather expressive, almost raw and ostentatious aesthetics, femininity, softness, tenderness and fragility can still be read in the work. In her graduation thesis The Taste of Pain, it is clear that the author deals with social issues related to women's issues, actually feminist issues, so it is understandable that the author refers to feminist theorists such as Julija Kristeva, Luce Irigaray and Judith Butler, and to the psychoanalytic theories of Jacques Lacan and feminist criticism that deals with Lacan's views on the role of women and female identity, especially in the context of art. The author also uses quotes from the book Women Who Run with the Wolves by psychoanalyst Clarissa Pinkola Estés to support her thoughts in the process of creating her work The Taste of Pain. The artifacts that make up the work are: • Object: a pink cushion/pillow in the shape of a circle with a diameter of 202 cm and a height of 90 cm represents a woman's nipple; • Spatial installation: tape-embroidered statements (serving to “label” women) on a specially prepared substrate (the strips and the substrate were prepared by dyeing old bedding, and the substrate was subsequently shaped using a mixture of wood fix glue, plaster, water and sand); • Five sculptures: different poses of the female body made of laminated paper and wire, made from five plaster molds; • An object representing the female genital organ: the frame of the work is 205 × 210 cm in size, comprising four three-dimensional shapes that can be mounted, while part of the selected, discarded fabrici s glued directly to the canvas. The author records the entire process of creating this piece with a camera, thus giving it the character of a performance. In this work, she tries to use ¨women's writing¨ in the form of a performance to once again bring to light the social problem of the status of women in society, which has been dealt with by both individuals and certain social groups for decades, in order to emphasize women's marginalized social position, and to repeatedly sensitize the public regarding this topic.