Linda Nochlin's seminal essay on women artists is widely acknowledged as the first real attempt at a feminist history of art.
Nochlin refused to handle the question of why there had been no 'great women artists' on its own, corrupted, terms. Instead, she dismantled the very concept of 'greatness', unravelling the basic assumptions that had centred a male-coded 'genius' in the study of art.
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