This thesis explores the annual jury-judged exhibition in Stockholm, Liljevalchs vårsalong, mainly concerning the representation of textile art at the exhibitions from the start in 1921 to 2020. Liljevalchs vårsalong is open to everybody to show their art, whether they are established artists or amateurs, provided that they are accepted by the jury. Before 1984 there was no textile art represented at the exhibitions, due to the fact that the only accepted art genres were painting, sculpture, drawing and graphics. In the period 1985 to 1999 the genre textile art was only accepted sporadically, so the thesis centers primarily on the period 2000 – 2020 when genre criterias were abandoned and all art forms were accepted. Pieces of textile art have been represented every year since 2001 at Vårsalongen, but not to a very high extent. An exception was the year 2005 when the exhibition only accepted the genres design, fashion, crafts and handicraft. In later years the representation of  textile art at Vårsalongen exhibitions indeed has increased to some extent, but this study considers that textile art has never really been any particular concern at Liljevalchs vårsalong, possibly due to the art genres traditional association with the female sphere – their work connoted to unpaid domestic leisure activity - while the central actors around the exhibiton have mostly been men.  The thesis also includes a closer look at some chosen textile art objects that represent different textile techniques: embroidery, tapestry, installation, knitting, felting. The objects are analyzed from different perspectives.