Bringing together more than 80 works, from her first Shooting Paintings (Tirs) to her iconic sculptures, including her famous Nanas, as well as films, models of works and happenings, the exhibition highlights Niki de Saint Phalle's artistic commitment against discrimination and violence toward women. It examines the place given to women in a male-dominated art scene and offers a new vision of femininity.

The artist placed the female body at the heart of her work in order to question gender relations in society and to denounce the obstacles to women's emancipation, including their right to self-determination. Her monumental figures embody a free and powerful femininity that breaks free from power relations and challenges stereotypes. The two Nanas lent by the Fondation, The Lady Sings the Blues (April–May 1965) and Jackie (September 1965), reflect her conception of the woman's body as both independent and in motion.

The exhibition also addresses Niki de Saint Phalle's political and social convictions: her support for the Black Power movement, her reflections on the right to abortion, her fight against the stigma surrounding AIDS, as well as her critique of the arms industry, the depiction of violence in the media, and environmental protection. Beyond these social issues, the exhibition sets her work alongside that of women artists who marked the same period, notably Eva Aeppli, Dorothy Iannone and Yayoi Kusama, as well as her collaborations with artists such as Jean Tinguely, Jasper Johns and Robert Rauschenberg.