The rise of Egyptian women artists and art teachers at the end of the 1940s appeared in tandem with an active women’s movement that asserted the agency of women in modern Egyptian public life. In this article, we discuss the art career of Menhat Helmy (1925–2004), a 1949 arts graduate of the ma`had al-ali li-ma`lumat al-funun al-jamila (Higher Institute for Women Teachers of the Fine Arts), located in the working-class district of Bulaq in Cairo, and who was among the first Egyptian graduates of the Slade School of Art in London. In a series of etchings executed from around 1956 and through the 1960s, Helmy produced a visual commentary on the dignity of Bulaq’s residents, with emphasis on the active presence of women in its neighborhood and public spaces. Helmy may be viewed in context with the feminism of her fellow women artists, including Gazbia Sirry (1925–2021) and Inji Efflatoun (1924–1986), and in relation to Efflatoun’s two books on feminist causes. As new professional artists and teachers, they advocated the promotion of education and vocational choice for women. Helmy’s choice of this neighborhood as a subject for art allows a comparison to theories about Bulaq’s development and its locus for the arts for which a multidisciplinary approach is required.