 As we have seen, the category of fine art has been a focus of feminist scholarly scrutiny because its attendant values screened out much of women’s creative efforts or actively dissuaded their attempts to practice certain genres. However, the dissolution of the values of fine art long preceded the art scene that feminists entered in the 1970s. In spite of sweeping changes in the concepts of art and its purposes that characterize much art of the last century, the numbers of women practitioners in arts such as painting, sculpture, and music remained small. Therefore, while fine art may have historical importance for women’s artistic influence, it clearly was not the perpetuating cause of their exclusion from the worlds of art. The anti-art and avant garde movements so frequently discussed by contemporary analytic philosophers were just as male-dominated as classical music or Renaissance sculpture. Moreover, values surrounding the artistic “genius” were just as vigorous as ever. Therefore, feminist art practices began as activist movements (such as the Guerrilla Girls of New York City) to secure women more visibility and recognition in the artworld (Guerrilla Girls 2020). Feminist artists not only demanded that their work be taken seriously, they mounted a critique of the traditional thinking that lay behind their exclusions from the powerful centers of culture.