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Solomon-Godeau was one of the first scholars to study Francesca Woodman’s work after her suicide at twenty-two and, with Krauss, the first to write about her work in the 1986 exhibition catalogue that launched her remarkable posthumous career. In this essay, Solomon-Godeau seeks to understand the way Woodman’s work and legacy have been framed. She argues that Woodman’s ascension to the pantheon of contemporary art has been accomplished by effacing the political issue of gender and the psychological problem of sexual difference. Further, she argues that whether or not Woodman defined herself personally as a feminist or was making “feminist” art is less important than acknowledging the context of her work. Solomon-Godeau thus asks what one might learn by thinking about the wider context and determinations within which such production was possible, and the various positions available to female spectators in relation to Woodman’s work.

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