 A number of artists today are using food that can be eaten, inviting the public into a participatory relationship with their works (Smith 2013). The uses of food on the part of female artists are particularly significant, given the traditional association of women with the body, with feeding and nurturance, and with transience and mortality. Not only these venerable concepts but also the versions they manifest in the contemporary social order are present in today’s art scene, such as Kara Walker’s 2014 work A Subtlety, a giant sculpture of sugar and molasses that explores eroticism, race, and the legacies of American slavery (Davidson 2016). The very presence of such creations in the artworld today has contributed to consternation on the part of professionals and public alike about just how art is to be defined and conceived. There is no particular feminist “definition” of art, but there are many uses to which feminists and postfeminists turn their creative efforts: exploring gender and sexuality as well as criticizing the traditions of art and of beauty imposed by aesthetic standards of the past.