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In 1971, Linda Nochlin asked the tantalizing question, "Why have there been no great women artists?" (Nochlin, p. 22). Her answer to this question did not deny its premise: that, in fact, there have been no great women artists. Three years later, Barbara Ehrlich White, in her "A 1974 Perspective: Why Women's Studies in Art and Art History?," problematized this premise by pointing out the variety of ways in which the art and art history establishments had rendered women artists, great and good, invisible (White, 1976). Women artists, White observed, had just barely managed, by 1974, to get their works shown in museums. They'd only recently gotten their toes in the doors of "one-man" shows …