 All that began to change around 1990, and since the turn of the last millennium there has been a veritable explosion of interest in beauty among philosophers, artists, critics, and cultural theorists—feminists among them (Brand 2000, 2013; Higgins, Maira, and Sikka 2017). While some of this work continues to consider the general traits of beauty in art and nature, quite a lot of it focuses on the norms of appearance of the human body, and the “violation” of “standard” norms according to race, disability, age, history, and variant sexual morphologies. Such standards govern not only artistic depictions, but also the way that real people shape and reshape their own bodies to conform to reigning standards of attractiveness (Devereaux 2013; Wegenstein 2012). Feminists and critical race theorists have been especially mindful of diversity and suspicious of general norms and the harms that they can occasion. Yet at the same time feminists have recognized the pull of pleasure and the importance of beauty in life as well as art. Seeking to avoid the dogma of universalism, Janet Wolff proposes an aesthetics of “uncertainty” that recognizes that norms of beauty are grounded in communities and are thus ineluctably political, and yet does not relinquish the value of beauty (Wolff 2006).