anthology of her writings with the art historian and critic Aruna D'Souza. Writings O'Grady's collected writings were published by Duke University Press in 2020 and were edited with Aruna D'Souza. In addition to the articles she has written for Artforum magazine and Art Lies, her essay, "Olympia's Maid: Reclaiming Black Female Subjectivity," has now been anthologized numerous times, most recently in Amelia Jones (ed.), The Feminism and Visual Culture Reader (2nd edition, Routledge, 2010). Reflecting on the great care apparent in the artist's writing, D'Souza observes: "O'Grady's words are a gift, a call to action, and a vision of a world as it could be." Rock criticism An early review by O'Grady of the night Bob Marley and the Wailers opened for Bruce Springsteen at Max's Upstairs in Manhattan, July 18, 1973, was rejected at the time by her Village Voice editor, who said "It's too soon for these two." The review was first published nearly 40 years later in Max's Kansas City: Art, Glamour, Rock and Roll, 2010, a photo book with texts by O'Grady, Lou Reed, Lenny Kaye, and Danny Fields, among others, and was recently reprinted in Writing In Space. "Olympia's Maid" "Olympia's Maid: Reclaiming Black Female Subjectivity" is an essay originally published in 1992 in the book, New Feminist Criticism: Art, Identity, Action. The first part of the essay was published in Afterimage 20 (Summer 1992). Widely referenced in scholarly works, it is a cultural critique of the representation of Black female bodies, and the reclamation of the body as a site of black female subjectivity. On the importance of self expression, O'Grady wrote, “to name ourselves rather than be named we must first see ourselves.” O’Grady uses the Victorian painting Olympia by Édouard Manet as an example of the Eurocentric depiction of Black womanhood. The painting features a nude prostitute, modeled by Victorine Meurent with her black maidservant, modeled by Laure, in the background. "The image of the black female constructed in this period reflected everything the white female was not." The West, she writes, has constructed the not-white woman as unseen. The metaphors of both the prostitute and feminist psychoanalysis’ the female eunuch as a way of describing Olympia’s maid’s positionality as a Black woman are used by O'Grady. The white body of Olympia is the only object of male gaze, and Laure’s inclusion is subconsciously critiqued through the reading of the white figure.