Archaeologically, this era is defined by technology, but consider the tag to indicate roughly 3000-1000 BCE. Generally entries tagged with this will involve art.
Although honoring the dead was a duty of Athenian citizens (i.e., men), the rituals of mourning and the work of tending to graves largely belonged to women. And an analysis of tombstones from the most important cemetery of 5-4th century Athens shows that women were more commonly featured on memorial carvings as well. Carved tomb markers frequently depict two or more figures: the deceased and persons who presumably were important in their life or who wished to be depicted as mourners.
Interpreting the meaning and context of Greek pottery art is far from straightforward. The modern framing as valuable “fine art” is to a large extent a by-product of the antiquities trade and it must be remembered that these vessels were originally created as a cheap imitation of fine metal utensils and, as such, might reasonably be viewed as “pop culture” works rather than the products of an artistic elite. These views make quite a difference in interpreting the depictions of women and their interrelationships with each other.
Rehak works on reconstructing (or at least plausibly imagining) female-centered aspects of Cretan society based on a series of frescoes from one particular site on the island of Thera. Aegean art of this era (ca. 1700-1100 BCE) does not portray images of sexual intercourse or even displays of affection or intimacy (whether between members of the opposite or same sex).