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More than thirty years after the birth of the modern women's movement and thebeginnings of feminist art-making and art history, the time is ripe to examine the legacies of thoserevolutions. In Women Artists at the Millennium, artists, art historians, and critics examine thedifferences that feminist art practice and critical theory have made in late twentieth-century artand the discourses surrounding it.In 1971, when Linda Nochlin published her essay "Why Have ThereBeen No Great Women Artists?" in a special issue of Art News, there were no women's studies, nofeminist theory, no such thing as feminist art criticism; there was instead a focus on the mythicfigure of the great (male) artist through history. Since then, the "woman artist" has not simplybeen assimilated into the canon of "greatness" but has expanded art-making into a multiplicity ofpractices with new parameters and perspectives. In Women Artists at the Millennium artists includingMartha Rosler and Yvonne Rainer reflect upon their own varied practices and art historians discussthe innovative work of such figures as Louise Bourgeois, Lygia Clark, Mona Hatoum, and Carrie MaeWeems. And Linda Nochlin considers changes since her landmark essay and looks to the future,writing, "We will need all our wit and courage to make sure that women's voices are heard, theirwork seen and written about."Artist Pages ByEllen Gallagher, Ann Hamilton, Mary Kelly, YvonneRainer, Martha RoslerContributing WritersEmily Apter, Carol Armstrong, Catherine de Zegher, MariaDiBattista, Brigid Doherty, Briony Fer, Tamar Garb, Anne Higonnet, Ewa Lajer-Burcharth, MollyNesbit, Mignon Nixon, Linda Nochlin, Griselda Pollock, Abigail Solomon-Godeau, Lisa Tickner, AnneWagner
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