Monika Sprüth, reflecting in 2015 on the inaugural “Eau de Cologne,” a group exhibition mounted at her gallery in tandem with 1985’s Art Cologne fair, characterized the show’s all-woman roster as an incidental that caught her unawarea calculated claim that served as a sly rejoinder to the art world’s patriarchal exclusivity, which dominated then and persists today. Since that moment, “Eau de Cologne” has maintained an iterative existence, reappearing in 1987 and 1993 and then in 2015 and 2016. Successive stagings would include new artists alongside the work of a few veterans from the 1985 show. At various points throughout the years, the original contributorsJenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, and Rosemarie Trockelhave reappeared. Only over time did the project assume a decidedly feminist position. This most recent version was arguably
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