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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. [BACK]

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

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. [BACK]

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. [BACK]

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

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

Press, 1997), 13. Kristen and I are grateful to Catherine for her early support of this writing project [BACK]

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). [BACK]

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

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

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. [BACK]

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

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. [BACK]

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

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

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

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. [BACK]

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. [BACK]

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