ABSTRACT
This book emerges from a conversation between fascination and paradox. Like many feminist scholars engaged with modern and contemporary art practice, my thinking has been affected profoundly by feminist philosophy, most especially by work on embodied subjectivity, situated knowledge, ethics and aesthetics. My commitment to feminism – intellectually, politically and personally – goes beyond a simple professional allegiance. It is more apt to say that I am fascinated by questions of sexual difference and their impact upon women’s particular relationships to, and articulations of, knowledge, culture and meaning. This fascination has driven my research for more than two decades; through many and varied projects, I have sought to engage with the contingent, yet eloquent, interweaving of subjects, objects, spaces, materials and ideas that characterise the work of women making art.1
