European portrait paintings of the fifteenth through early 19th centuries under the title History Portraits.Kimberlee A. Cloutier-Blazzard, Cindy Sherman: Her "History Portrait" Series as Post-Modern Parody, Bread and Circus, July 29, 2007. 1990s Sex Pictures Sherman uses prosthetic limbs and mannequins to create her Sex Pictures series (1992). Hal Foster, an American art critic, describes Sherman's Sex Pictures in his article Obscene, Abject, Traumatic as "[i]n this scheme of things the impulse to erode the subject and to tear at the screen has driven Sherman […] to her recent work, where it is obliterated by the gaze." Reviewer Jerry Saltz told New York magazine that Sherman's work is "[f]ashioned from dismembered and recombined mannequins, some adorned with pubic hair, one posed with a tampon in vagina, another with sausages being excreted from vulva, this was anti-porn porn, the unsexiest sex pictures ever made, visions of feigning, fighting, perversion. … Today, I think of Cindy Sherman as an artist who only gets better." Greg Fallis of Utata Tribal Photography describes Sherman's Sex Pictures series and her work as follows: "With her Sex Pictures, Sherman posed medical prostheses in sexualized positions, recreating—and strangely modifying—pornography. An example of this can be seen in her work entitled, Untitled,#264. Sherman displays herself with a body made of prosthetic. Her face is the only part of her that shows but is covered by a gas mask meant to emphasize the parts of the female body that tend to be over sexualized.Fallis, Greg. "Sunday Salon with Greg Fallis", Sunday Salon, utata.org » Cindy Sherman. N.p., n.d. Web. October 29, 2013. 2000s Between 2003 and 2004, Sherman produced the Clowns cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled Society Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in a youth- and status-obsessed culture. Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11) accompanied by films selected by Sherman. In this mural, she photoshopped her face with a decorative backdrop to transform herself into a fictitious environment. Along with other characters, Sherman toys with the idea of reality and fantasy together. Based on a 32-page insert Sherman did