 Similar recognition of the potentials for both danger and pleasure in beauty is found in investigations that seek to decenter notions of beauty with reference to race, indigenous people, and subaltern cultures (e.g. Brand 2000, 2013, and Felski 2006). Nor is this a theoretical effort alone; artists are major participants in the reclamation of beauty that takes as many forms as humanity offers. The upshot of this work is not to reinstate beauty back on its abstract pedestal, but to retain its pleasures while being alert to its dangers. As Monique Roelofs observes, “the menace and promise of the beautiful as a bearer of aesthetic value, a dimension of experience, and a category of cultural criticism turn on the ways in which we may dislocate its relational functioning” (Roelofs 2013: 73). The functions of beauty include the seductions of advertising, a pervasive social phenomenon that reinforces and manipulates ideals of femininity and thus represents another important target for feminist examinations (Michna 2016; Widdows 2019). In addition, the growing field of somaesthetics has increasingly focused on the body, the care of the self, and gendered ideals of beauty that affect men as well as women (Hyvönen 2020), as well as the performative body in dance (Banes 1998; Bresnahan, Katan-Schmid and Houston 2020) and competitive sports (Morgan and Edgars 2021).