 For these reasons, feminist art itself also furnishes numerous examples that subvert older models of fine art, but with added layers of meaning that distinguish it from earlier iconoclastic movements. Because of the gendered significance of the major concepts of the aesthetic tradition, feminist challenges often systematically deconstruct the concepts of art and aesthetic value reviewed above. Feminist art has joined—and sometimes has led—movements within the artworld that perplex, astound, offend, and exasperate, reversing virtually all the aesthetic values of earlier times. As art critic Lucy Lippard put it, “feminism questions all the percepts of art as we know it” (Lippard 1995: 172). Feminist artists have challenged the ideas that art’s main value is aesthetic, that it is for contemplation rather than use, that it is ideally the vision of a single creator, that it should be interpreted as an object of autonomous value (Devereaux 1998). Feminism itself came under internal criticism for its original focus on white, western women’s social situations, a familiar critique in feminist circles that has a presence in aesthetic debates. By the late twentieth and early twenty-first centuries, the energies of feminist and postfeminist artists of diverse racial and national backgrounds have made the presence of women in the contemporary artworld today powerful and dramatic (Deepwell 2020). Self-referential explorations of identity and agency—often through performance art—have been led by women of color such as Adrian Piper, who is also a philosopher (Piper 1996), as well as by lesbian and trans artists whose work gives rise to queer feminist art histories (Jones and Silver 2015).