Essays on the work of nine female artists by leading October art historian and art theorist Krauss, all framed by the question of ‘what evaluative criteria can be applied to women’s art?’ In the face of many essentializing debates about feminism that were rampant in the 1980s and 1990s, Krauss provides a refreshingly grounded theoretical approach in her consideration of these artists’ works, which in their expressive, aesthetic, and conceptual strategies do a fine job of subverting gendered stereotypes and expectations without being reduced to the gender of their makers, she claims. See in particular Cindy Sherman: Untitled and Louise Lawler: Souvenir Memories, two of the best-known texts in the book.