THOSE WHO KNOW of Lee Lozano know she ditched the art world and stopped talking to women. But the fact is most people don’t know of her, because she ditched the art world and stopped talking to women. Feminism taught us long ago that history is written as much through its exclusions as through its master narratives. This has certainly been the case for art history, whose neglect of, and outright hostility to, women artists is amply documented. It is doubly odd, then, to come across the problem of Lozano, for the version of ’60s and ’70s art that most of us carry in our mind is marked by the