Between 2009 and 2010, a womenâ€™s community organisation in the Eastern Cape of South Africa wove a tapestry based on Pablo Picassoâ€™s 1937 painting Guernica. The work repurposes the aesthetic vocabulary of Picassoâ€™s iconic painting, applying it to the groupâ€™s experiences of the ongoing AIDS epidemic. Rooted in the everyday practice of the women responsible for weaving it, the tapestry offers a layered, complex response to the gendered politics of national and international HIV/AIDS governance, mediated through a craft and trade that is itself gendered. This article offers a brief account of the tapestryâ€™s creation, situating it within the wider context of the Mbeki administrationâ€™s doubts regarding the efficacy of antiretroviral drugs. It then draws attention to a specific feature of the tapestry, namely the bull, and asks how the tapestryâ€™s appropriation of Picassoâ€™s visual language enables it to produce, bear, and convey meaning about the AIDS crisis as experienced by women in Hamburg.