 Postfeminist artists, such as Kiki Smith and Jenny Saville, build upon the efforts of their predecessors in exploring the body, gender, and sexual identity. Postfeminist art, often highly theoretical and deeply serious, also tends to be playful and parodic in style, such as the work of Vanessa Beecroft. It tends to be less overtly political than the art of earlier feminists. Influenced by postmodern speculations that gender, sexuality, and the body itself are creations of culture that are malleable and performative, postfeminist art confounds and disrupts notions of stable identity (Grosz 1994; Butler 1990, 1993). Such art can be seen as individualistic compared to the social agendas of earlier feminism, but perhaps for this reason this sort of art is also more attuned to differences among women. These presentations of the female body tend to draw attention to the position it has in culture: not only the sexed body, but also bodies marked by racial and cultural differences (James 2010). In the 1970s and 80s, Cuban-American artist Ana Mendieta produced a series of works making use of her own body to form silhouettes and shapes. All of this activity is theoretically charged and often philosophically motivated (Reckitt 2001, Heartney 2013). At the same time, it should be stressed that the kinds of art that qualify to be labeled “feminist” are hugely varied and heterogeneous. And as time passes and political climates shift, the interventions of artists and their visionary critiques alter accordingly. Twenty-first century theorizing about feminist art now includes acknowledgement of the many forms of global feminisms and increased frequency of feminist content that deals with war and politics. Robinson and Buszek offer a refreshed definition of “feminist art” that is not a simple classification of a type of art, but rather indicates the space where feminist politics and the domain of art-making intersect (Robinson and Buszek 2019; also Armstrong and de Zegher 2006).