Abstract

If it is mastery itself which is undergoing deconstruction and if the modern tradition of painting is conventionally recuperated as a tradition of masters, then feminist practice has not surprisingly tended towards the exploration and celebration of its difference(s) at the margins of painting … And yet in this very deconstructive exploration, this celebration of difference, feminist practice reinscribes itself within Tradition and as fundamental to postmodernity. (Phillipson, 1985:188)