intellectually trendy but that rather exhibits many elements, the polemical, Marxist,
lyrical, and poststructuralist being only a few.

Viewed chronologically, the discourse is clearly a process. A dialectic
emerges as some critics focus negatively on male-dominant culture, some posi-
tively discuss woman-centered art and criticism and others do both. The process
involves continually rethinking the conditions of the art world and the status of
women and feminist art criticism within that sphere. Thus the authors in Feminist
Art Criticism state accomplishments as well as offer critiques of the theory and
practice of feminists in art.

This display of a desire for movement and change and their consequent cre-
ation are perhaps feminist art criticism's greatest powers. For in its presentation
of alternatives to the powers that be, feminist criticism offers ways not only to
reshape the art world but also to extend its values into the world at large. In these
new forms of feminist criticism woman has presence. The fact that Maryse
Holder's essay remains riveting is, on one hand, a tribute to her literary gifts.
On the other hand, however, her essay's pertinence suggests that the power it
embraces has yet to be fully realized.

Arlene Raven, Cassandra L. Longer, and Joanna Frueh

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