 The significance of the fine art-craft distinction for the assessment of women’s creative production is substantial. While there are many objects that are excluded from the category of fine art whose makers are male, those objects of domestic use whose creation was predominantly the occupation of women were all marginalized by this category and its attendant values (Parker and Pollock 1981). Thereby the traditional domestic arts were removed from the history of art proper. This historical change suggests one reason that painting, for example, has had so few “great” female practitioners: historically women’s creative efforts were likely to be directed to the production of domestic wares; when these were shunted into the category of “craft,” women’s presence in the genre of visual arts shrank radically.