 From the above we can see how the concept of “art,” considered in its aspect of “fine art,” is a gendered concept that selects as its paradigms mostly works that have been made by male creators. Awareness of fine art’s exclusionary criteria is evident in contemporary feminist art practice. Mindful of the effects that strict divisions between fine art and craft have exerted over female creativity, feminist artists who were active in the women’s movement of the 1970s, such as Faith Ringgold and Miriam Schapiro, incorporated craft materials such as fiber and cloth into their displays (Lauter 1993). Their work employs materials with domestic and feminine associations, calling attention to the long-overlooked labor of women in art traditions that are different from but no less worthy of attention than the fine arts of painting and sculpture. Indeed, craft objects themselves such as quilts are now occasionally the subject of exhibits in fine-art museums, another recognition that the problematic distinction between fine art and craft dissolves with changing cultural assessments. These sorts of work suggest that, from one point of view, women have not been so much absent from the history of art, as the history of art has screened out many of the forms to which they have traditionally directed their energies.