Ursula Mayer’s recent exhibition “Not a curse, nor a bargain, but a hymn” offered a précis of the dominant culture, melding literary “classics,” fashion editorials, the metapolitical propaganda of the liberal press, science-fiction mise-en-scène, soap operas, and high-end commercial display. This maelstrom of hypercapitalist spectacle referenced the ascendance of corporate feminism—we might call it “New Economy Feminism”—over the course of the economic restructuring that began three decades ago and continues unchecked. Drawn from the play Ideal by Ayn Rand (a key figure in this strand