 There is also a body of work emerging that puts foundational figures in Continental feminism into conversation with trans studies. Marie Draz (2018) has placed feminist philosophical uses of Nietzsche, such as in the work of Butler (1990) and Rosalyn Diprose (2002), into conversation with trans scholarship on the institutionalization of gender categories, while Tim Johnston (2015) has argued that although scholars of gender and sexuality have used Irigarayan resources for discussing trans and queer issues, Irigaray’s own claim that ontology is sexed and that there is an impassable limit between the sexes conveys an unsalvageable cissexism, or privileging of non-trans experience. In a similar vein, Oli Stephano (2019) critiques Elizabeth Grosz’s emphasis on the irreducibility of sexual difference, showing that her ontology invalidates trans embodiment and subjectivities. This critique of Grosz follows earlier work by Eva Hayward (2017) on the transphobic implications of some of Grosz’s feminist materialist arguments. Gayle Salamon also critically examines the way that sexual difference operates as a limit to the reimagining of embodiment and materiality in the work of both Irigaray and Grosz (Salamon 2010a). María Lugones is another figure of widespread use in Continental feminism who has been regularly cited in scholarship on trans issues (Bettcher 2014b; DiPietro 2019; Draz 2017a; Malatino 2019). Finally, like Butler, the use of Foucault in trans studies has also changed dramatically over the last several decades. For example, Foucault’s work on types of modern power has been used (alongside women of color feminism, indigenous scholarship, and numerous other sources) to examine the violence caused by how state institutions administer legal gender categories in sex-segregated institutions and identity documents (Spade 2011 [2015]). Foucauldian feminist accounts of prison and punishment have also been put into conversation with scholarship rooted in trans and gender non-conforming experience (Dilts 2017; Vitulli 2018; Zurn 2016, 2019).