input: In 1970, Chicago decided to teach full-time at Fresno State College, hoping to teach women the skills needed to express the female perspective in their work. At Fresno, she planned a class that would consist only of women, and she decided to teach off campus to escape "the presence and hence, the expectations of men." She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program, a full 15-unit program, in the spring of 1971. This was the first feminist art program in the United States. Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno. Here they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. All of the students and Chicago contributed $25 per month to rent the space and to pay for materials. Later, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program at California Institute of the Arts. After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992.  Chicago is considered one of the "first-generation feminist artists," a group that also includes Mary Beth Edelson, Carolee Schneeman, and Rachel Rosenthal. They were part of the Feminist art movement in Europe and the United States in the early 1970s to develop feminist writing and art.  Chicago became a teacher at the California Institute for the Arts, and was a leader for their Feminist Art Program. In 1972, the program created Womanhouse, alongside Miriam Schapiro, which was the first art exhibition space to display a female point of view in art. With Arlene Raven and Sheila Levrant de Bretteville, Chicago co-founded the Los Angeles Woman's Building in 1973. This art school and exhibition space was in a structure named after a pavilion at the 1893 World's Colombian Exhibition that featured art made by women from around the world. This housed the Feminist Studio Workshop, described by the founders as "an experimental program in female education in the arts. Our purpose is to develop a new concept of art, a new kind of artist and a new art community built from the lives, feelings, and needs of women." During this period, Chicago began creating spray-painted canvas, primarily abstract, with geometric forms on them. These works evolved, using the same medium, to become more centered around the meaning of the "feminine". Chicago was strongly influenced by Gerda Lerner, whose writings convinced her that women who continued to be unaware and ignorant of women's history would continue to struggle independently and collectively.

Answer this question "How was she involved in the Feminist Art Movement?"
output: She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program,

Question: Luis Antonio Gokim Tagle (Tagalog: [lU'wis an'tonIo 'tagle]; born June 21, 1957) is the 32nd Archbishop of Manila. He has been Archbishop since December 12, 2011, and a cardinal since November 24, 2012. He also serves as President of Caritas International, a federation of Catholic relief, development, and social service organizations, and of the Catholic Biblical Federation. Tagle has become involved in many social issues in the Philippines with emphasis on helping the poor while maintaining opposition against what he terms "practical atheism", abortion, and contraception (equated with abortion in the Philippines).

Tagle was born on June 21, 1957, the eldest child of devout Catholic parents, Manuel Topacio Tagle, an ethnic Tagalog and his Chinese Filipino wife, Milagros Gokim, who previously worked for Equitable PCI Bank.  Tagle's paternal grandfather, Florencio, came from Imus, Cavite; the Tagle family were from the Hispanic, lowland Christian aristocracy known as the Principalia, which were the elite prior to the 1896 Philippine Revolution. Florencio was injured by a bomb explosion during the Second World War; Tagle's grandmother made a living by running a local diner.  After attending elementary and high school at Saint Andrew's School in Paranaque, he was influenced by priest friends to enter the Jesuit San Jose Seminary, which sent him for studies at the Jesuit Ateneo de Manila University.  Tagle earned a Bachelor of Arts degree in pre-divinity from Ateneo in 1977 and then a Master of Arts in theology at its Loyola School of Theology. Tagle earned his Doctorate in Sacred Theology at the Catholic University of America from 1987 to 1991. He wrote his dissertation under the direction of Joseph A. Komonchak on the development of the concept of episcopal collegiality at the Second Vatican Council and the influence of Pope Paul VI. Tagle also attended doctrinal courses at the Institute of Pope Paul VI University. In Komonchak's estimation, Tagle was "one of the best students I had in over 40 years of teaching" and "could have become the best theologian in the Philippines, or even in all of Asia" had he not been appointed bishop. Tagle has received honorary degrees from Catholic Theological Union  and La Salle University.

Using a quote from the above article, answer the following question: Where did he go to school?
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Answer:
After attending elementary and high school at Saint Andrew's School in Paranaque, he was influenced by priest friends to enter the Jesuit San Jose Seminary,