PositiveThe Washington PostMixing feminist polemic, a few blinding flashes of the obvious and the cri de coeur of a working mother, McCormack grounds her analysis in feminist art history and theory, the insights of racial and sexual justice movements, and her own story as an emerging professional from a working-class background who moves in elite zones of the art world ... Yet at times she seems to be fighting battles that have been won, as if unaware that much of the art world has moved on. She gives only minimal consideration to the question of what is to be done with problematic images of women if we can’t just lock them up ... McCormack’s chapter on mothers as artists and as subjects of artists is perhaps the strongest and most coherently argued ... McCormack’s mad dash through and around the confluence of issues of gender, power and representation in art is a passionate, serious, yet often entertaining introduction to issues that will be with us for the foreseeable future, their historic context and their implications for women.
