1. See Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art's Histories (New York: Routledge, 1999), 9, for a more complete discussion of the (art historical) canon and feminist inscription.

2. Toril Moi, Sexual/Textual Politics: Feminist Literary Theory (New York: Routledge, 1985), 31.

3. Jean Frémon, Louise Bourgeois: Retrospective 1947–1984, exhib. cat. (Paris: Galerie Maeght Lelong, 1984), quoted in Mignon Nixon, “Bad Enough Mothers,” October 71 (Winter 1995): 74.

4. Julia Kristeva, “Women's Time,” in Feminist Theory: A Critique of Ideology, ed. Nannerl O. Keohane, Michelle Z. Rosaldo, and Barbara C. Gelpi (Chicago: University of Chicago Press, 1996), 31–53.

5. Mary D. Sheriff, An Exceptional Woman: Elisabeth Vigée-Lebrun and the Cultural Politics of Art (Chicago: University of Chicago Press, 1996), 50.

6. Thomas J. Heffernan, Sacred Biography: Saints and Their Biographers in the Middle Ages (New York: Oxford University Press, 1988), 18, quoted in Catherine Soussloff, The Absolute Artist (Minneapolis: University of Minnesota

7. Soussloff, The Absolute Artist, 4. For a valuable (early) discussion on this topic, refer to Christine Battersby, Gender and Genius: Towards a Feminist Aesthetics (Bloomington: Indiana University Press, 1989).

8. Rosalind Krauss, Bachelors (Cambridge, Mass.: MIT Press, 1999), 162.

9. See Stephen Heath's remarks in “Difference,” Screen 19 (Autumn 1978): 51–112.

10. Lynn Gumpert, Christian Boltanski (Paris: Flammarion, 1994). See section ii, “The Early Work,” for a complete discussion of Boltanski's working method and approach to materials.

11. Francesca Woodman committed suicide just before her twenty-third birthday.

12. Carolee Schneemann asked this very question of the audience when she was presented with a life achievement award for her work at College Art Association 2000 Conference by the Committee for Women in the Arts.

13. For a more complete discussion, refer to Peggy Phelan, Unmarked: The Politics of Performance (New York: Routledge, 1993).

14. Mary Douglas, Purity and Danger: An Analysis of the Concepts of Pollution and Taboo (New York: Routledge, 1966), 36.

15. Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore: Johns Hopkins University Press, 1984), 133.

16. Whitney Chadwick, Women, Art, and Society (New York: Thames and Hudson, 1990), 12. Women, Art, and Society continues to be updated and is now in its third edition.

17. Perhaps electronic publishing and the World Wide Web will be the site for such an endeavor. For a provocative discussion of Martha Wilson's experience of turning Franklin's Furnace into a virtual exhibition space, see her article “Going Virtual,” Art Journal 59, no. 2 (Summer 2000): 102–10.