1. Roland Barthes, “The Death of the Author,” in Image-Music-Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 146.

2. Lisa Tickner, “Feminism, Art History, and Sexual Difference,” Genders no. 3 (Fall 1988): 93.

3. Ibid.

4. Jon Bird, Jo Anna Isaak, and Sylvère Lotringer, Nancy Spero (London: Phaidon, 1996).

5. I was not able to resolve this paradox to my satisfaction, but dissertations, unlike books, can structurally contain an apparent inconsistency and still be a contribution to scholarship.

6. Linda Nochlin, “Why Have There Been No Great Women Artists?” in Art and Sexual Politics, ed. E. Baker and T. Hess (New York: Macmillan, 1973); reprinted in Women, Art, and Power and Other Essays (New York: Harper & Row, 1988), 145–78.

7. Anne Sutherland Harris and Linda Nochlin, Women Artists 1550–1950 (Los Angeles: Los Angeles County Museum of Art, 1976).

8. Lawrence Alloway, “Art,” Nation, April 2, 1973, 446. Alloway states that the Codex Artaud presents “a remarkable compound of two kinds of signs in which verbal and visual image interpenetrate.”

9. Laura Cottingham, “Notes on ‘Lesbian,’” Art Journal 55, no. 4 (Winter 1996): 72–77; see esp. 76.

10. Reprinted in Hans-Ulrich Obrist, ed., Leon Golub: Do Paintings Bite? Selected Texts 1948–1996 (Ostfildern, Germany: Cantz, 1997), 74.

11. Jonathan Katz, “The Art of Code: Jasper Johns and Robert Rauschenberg,” in Significant Others: Creativity and Intimate Partnership, ed. Whitney Chadwick and Isabelle de Courtivron (New York: Thames and Hudson, 1993), 189–206.

12. Trinh T. Minh-ha, Woman Native Other: Writing Postcoloniality and Feminism (Bloomington: Indiana University Press, 1989), 6.