is best known for her series of photographs, After Walker Evans, which was shown at her 1981 solo exhibition at Metro Pictures Gallery in New York. The works consist of well-known Walker Evans photographs, rephotographed by Levine from an Evans exhibition catalogue and then presented as Levine's own artwork without manipulation of the images. The Evans photographs — made famous by his book project Let Us Now Praise Famous Men, with writings by James Agee — are widely considered to be the quintessential photographic record of rural American poor during the Great Depression. The Estate of Walker Evans saw the series as a copyright infringement, and acquired Levine's works to prohibit their sale. Levine later donated the whole series to the estate. All of it is now owned by the Metropolitan Museum of Art, New York. Levine's appropriation of Evans's images has since become a hallmark of the postmodern movement. By rephotographing and re-feminizing this series, Levine makes the images more transparent in their message, rather than focusing on authorship. Including herself in this series can be seen as the artist's gesture of solidarity with the subject. Levine has rephotographed a number of works by other artists, including Eliot Porter and Edward Weston. Additional examples of Levine's works include photographs of Van Gogh paintings from a book of his work; watercolor paintings based directly on work by Fernand Léger; pieces of plywood with their knotholes painted bright solid colors; and her 1991 sculpture Fountain, a bronze urinal modeled after Marcel Duchamp's 1917 work, Fountain. This work in particular brings attention to the idea of originality and Levine's ability to remake artworks as not quite themselves. In the case of Fountain, Levine purposefully chooses a polished bronze finish to evoke works by Brancusi. By doing so, Levine likens the two artists' works, and raises the question of originality and the copy. Levine also appropriated Duchamp's The Bride Stripped Bare By Her Bachelors, Even, through the creation of her 1989 series, The Bachelors (After Marcel Duchamp). The series comprises six frosted-glass sculptures, each of which follows the design of a different malic-mold found in Duchamp's original. The sculptures are displayed in individual glass vitrines, separate from one another so as to upset the structure of power depicted by Duchamp originally, allowing Levine to make a greater social commentary through her series. In 1993, Levine created cast glass copies of sculptures by Constantin