rather than Greek originals. The European tradition of art was expanded to include Byzantine art and the new discoveries of archaeology, notably Etruscan art, Celtic art and Upper Paleolithic art. Since the 20th century there has been an effort to re-define the discipline to be more inclusive of art made by women; vernacular creativity, especially in printed media; and an expansion to include works in the Western tradition produced outside Europe. At the same time there has been a much greater appreciation of non-Western traditions, including their place with Western art in wider global or Eurasian traditions. The decorative arts have traditionally had a much lower critical status than fine art, although often highly valued by collectors, and still tend to be given little prominence in undergraduate studies or popular coverage on television and in print. Women and art English artist and sculptor Barbara Hepworth DBE (1903 – 1975), whose work exemplifies Modernism, and in particular modern sculpture, is one of the few female artists to achieve international prominence. In 2016 the art of American modernist Georgia O'Keeffe has been staged at the Tate Modern, in London, and is then moving in December 2016 to Vienna, Austria, before visiting the Art Gallery of Ontario, Canada in 2017. Historical exclusion of women Women were discriminated against in terms of obtaining the training necessary to be an artist in the mainstream Western traditions. In addition, since the Renaissance the nude, more often than not female, has had a special position as subject matter. In her 1971 essay, "Why Have There Been No Great Women Artists?", Linda Nochlin analyzes what she sees as the embedded privilege in the predominantly male Western art world and argues 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. 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. In the 1970s, feminist art criticism continued this critique of the institutionalized sexism of art history, art museums, and galleries, and questioned which genres of art were deemed museum-worthy. This position is articulated by artist Judy Chicago: "[I]t is crucial to understand that one of the ways in which the importance of male experience is conveyed is