 Feminist analyses of aesthetic practices of the past have influenced the production of feminist art of our own times, and the latter in turn has contributed to a dramatic alteration of the climate of the art world. The changes that have beset the worlds of art in the twentieth century, perhaps most dramatically in the fields of the visual arts, are frequently the subject of philosophical discussions in the analytic tradition regarding the possibility of defining art (Danto 1981; Davies 1991; Carroll 2000). One challenge to defining art stems from the fact that contemporary artists frequently create with the intention of questioning, undermining, or rejecting values that defined art of the past. The early and mid-twentieth century extravagances of Dada and Pop Art are most often the target of philosophical inquiries, which seek to discover commonalities among artworks that have few to no perceptible defining similarities.