Linda Nochlin's 1971 groundbreaking essay, "Why Have There Been No Great Women Artists?", analyzes the embedded privilege in the predominantly white, male, Western art world and argued that women's outsider status allowed them a unique viewpoint to not only critique women's position in art, but to additionally examine the discipline's underlying assumptions about gender and ability.[2] Nochlin's essay develops the argument that both formal and social education restricted artistic development to men, preventing women (with rare exception) from honing their talents and gaining entry into the art world.[2] In the 1970s, feminist art criticism continued this critique of the institutionalized sexism of art history, art museums, and galleries, as well as questioning which genres of art were deemed museum-worthy.[3] This position is articulated by artist Judy Chicago: "...it is crucial to understand that one of the ways in which the importance of male experience is conveyed is through the art objects that are exhibited and preserved in our museums.