 The debate over creativity is a particular entry into broader discussions over whether women’s art might represent a kind of “gynocentric” tradition different from the androcentric traditions of male artists (Ecker 1986; Hein and Korsmeyer 1993, sect. II). If this is to mean that the works of women artists always manifest certain feminine aesthetic qualities due to their makers’ gender, then many feminists respond negatively, arguing that other social positions (historical, national, ethnic, racial, sexual orientation, and so forth) impose too many differences on women to yield any feminine common denominator to their work (Felski 1989, 1998). On the other hand, some scholars argue that women artists and writers often produce a counter-voice within their ambient traditions which might be considered to claim its own “aesthetic.” Where one stands in this debate depends much on the scope of evidence considered relevant to the question (Devereaux 1998). Claims for a tradition of feminine aesthetics have been widely criticized for essentializing women and ignoring their many social and historical differences (Meagher 2011). At the same time, as Cornelia Klinger observes, speculations about a women’s art tradition seem, in retrospect, to be more sophisticated than the label “essentialism” implies, because they move beyond egalitarian liberalism and recognize the enduring influences of gender in aesthetic productions (Klinger 1998, 350; Eaton 2008). As with virtually all philosophical questions, those concerning commonalities among women artists are revisited from time to time. (In 2015 a conference in Cork, Ireland, was devoted to the topic of “Aesthetics and the Feminine” (Edwards 2016).)