ABSTRACT
This chapter examines gender constructions as they relate to modern art and how these constructions affected the reception of American Indian painting around the mid-century. Although presumably available for comment on their work, Native painters received very little press and reviews of the exhibition provided little critical analysis of their paintings. She gained recognition for establishing the "Studio Style" of Pueblo painting, which was characterized by a subject focus on indigenous cultural traditions and a style inspired by the study of tribal art through archaeological remains or other historical sources. The chapter provides further evidence of Dunn's recognition of her women students. In conclusion, feminist art historians have written extensively on the problematic relationship between modernism and women's artistic production. As art historian Tamar Garb summarizes, "The very vocabulary of modernism is exclusive of the conditions of production, reception and distribution, and the incumbent meanings of the majority of women's made images objects in the past.
