These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?". In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Rosalind Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. The artists presented include Louise Bourgeois, Cindy Sherman, Agnes Martin, Eva Hesse, Sherrie Levine, Claude Cahun, Dora Maar, Louise Lawler and Francesca Woodman.
Rosalind E. Krauss is University Professor in the Department of Art History at Columbia University, where, from 1995 to 2006, she held the Meyer Schapiro Chair in Modern Art and Theory. She is a founding editor of October and the author of Passages in Modern Sculpture, The Originality of the Avant-Garde and Other Myths, The Optical Unconscious, Bachelors, Perpetual Inventory, Under Blue Cup (all published by the MIT Press), and other books.