 The provocative ideas of French philosopher and psychoanalyst Luce Irigaray have provided inspiration for a number of feminist artists who seek to bring forth a “sexuate” perspective in their work that does not borrow from the patriarchal tradition, for the latter, according to Irigaray, has always eclipsed the expression of the “feminine.” The body and its morphology are central to Irigaray’s philosophical method, as she insists that sexuate being pervades one’s existence, and that the pretense of shedding one’s sex when writing or speaking in standard, familiar idioms and syntax causes the feminine to disappear into the masculine/neutral discourse that dominates the patriarchal order. As she puts it in the title of one of her widely-read essays, “Any theory of the subject has always been appropriated by the masculine” (Irigaray 1974 [1985: 133]). One of Irigaray’s projects is to evoke feminine subjectivity that can be represented in its own terms, not just as an absence in the symbolic order. While the intricacies of her philosophy are opaque and sometimes difficult to pin down, her suggestive ideas have furnished inspiration for many feminist artists. The psychoanalytic work of Bracha Ettinger concerning subjectivity and gendered consciousness is equally developed in her writings and in her visual art and indeed can be considered as much theory as aesthetic production (Ettinger 2006; Pollock 2008).