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slant

the women of Pop

Dorothy Grebenak, Two Dollar Bill, ca. 1964, wool, 30 x 73".

OVER THE PAST FEW YEARS, the generative investigation of the practices of women artists has yielded plenty of surprises—enough, certainly, to have an enormous impact on how we think about the past and make art in the present. One of the most recent revelations is among the most startling: To find the proximate origins of the feminist art movement, it seems, we need to look to Pop art. That’s right, Pop, the rubric under which Allen Jones’s seminude woman–as–coffee table is filed, the last blazing bastion of culturally sanctioned misogynistic art. This, at least, is the conclusion strongly suggested by the visibility lately afforded the distaff side of the genre.

“Seductive Subversion: Women Pop Artists 1958–68” was intended to counter the misconception that Pop had no distaff side. More than five years in the making, the exhibition—curated by Sid Sachs and on view from

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