the systems that exist to subjugate Black people. O’Grady picks out psychoanalysis as the "linchpin of Western (male) [sic] cultural theory." She quotes Jacqueline Rose’s description of psychoanalysis and race: "To say that psychoanalysis does not, or cannot, refer to non-European cultures, is to constitute those cultures in total ‘otherness’ or ‘difference’; to say, or to try to demonstrate, that it can, is to constitute them as the ‘same.’ " "The creation of a black feminist aesthetic must challenge dominant culture's discourse of the black body [as] grotesque and articulate a black liberation discourse on the black body [as] beautiful." European and European-American society has historically viewed Blackness as ugly. It is up to those working within Black feminist theory and critique to reinvent a new positionality. This, O’Grady argues, comes at a time when subjectivity itself has been problematized by ideology. Ideology is a patriarchal practice and theory is what substantiates it; theories of the political and social as well as the ideological/intellectual aided in the creation of the devalued Black figure. Out of ideology, she writes, came the notion of binary logic: either/or-ism. As a standard, the Western mode of thinking, as proposed by many feminists, is ‘either:or-ism.’ It describes two modes of thought or plans of action that can be reached, but never can the two be reached together. "The binary logic of the west takes on an added dimension when confronted with the presence of a black woman." Behind the binary logic of science in the nineteenth century, literature and art situates the representations of Black woman at both the site and sight of violation. Either/or logic fragments that which it is applied to. Riffing off of this logical ideology, O’Grady makes mention of a contrasting Eastern mode of thinking: ‘both/and’ logic. It describes dialogical thinking and living, implying the functioning of both options within a scenario and suggests the abandonment of the either/or hierarchy. Awards In 1995–96, O'Grady held the Bunting Fellowship in Visual Art at Harvard University's Radcliffe Institute for Independent Study. There she became immersed in the internet during its early years. In 1997–98, she was a Senior Fellow of the Vera List Center for Art and Politics, New School University. In 2009 she received the Anonymous Was A Woman award, a United States Artists Rockefeller Fellowship in Visual Art in 2011, the College Art Association's Distinguished Feminist Award in 2014, and a