After an interviewer in 2009 asked the then thirty-year-old Lucy Stein how her career had thus far been marked by feminism, the Glasgow-based English artist noted, “I fully expect to be marginalized and then become a grande dame and then a ‘treasure’ at the age of eighty or so, the usual trajectory for a woman making so-called raw paintings.” Her acerbic answer evoked a rainbow of greats: from late-life images by painters Maria Lassnig, Alice Neel, and Joan Semmel, to sculptors such as the Louises Bourgeois and Nevelson—all scraped-back hair and jutting, geometric jewelry—each of whose