an atemporal and mysterious power somehow embedded in the person of the Great Artist.” This ‘god-like’ conception of the artist's role is due to "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based." She develops this further by arguing that "if women had the golden nugget of artistic genius, it would reveal itself. But it has never revealed itself. Q.E.D. Women do not have the golden nugget of artistic genius." Nochlin deconstructs the myth of the 'Genius' by highlighting the unjustness in which the Western art world inherently privileges certain predominantly white male artists. In Western art, ‘Genius’ is a title that is generally reserved for artists such as, van Gogh, Picasso, Raphael, and Pollock—all white men. As recently demonstrated by Alessandro Giardino, when the concept of artistic genius started collapsing, women and marginal groups emerged at the forefront of artistic creation. Griselda Pollock, following closely the psychoanalytical discoveries of French theorists Julia Kristeva, Luce Irigaray and mainly Bracha L. Ettinger consistently brought the feminist psychoanalytic perspective into the field of art history. Museum organizations Similar to Nochlins’ assertions on women's position in the art world, art historian Carol Duncan in the 1989 article, “The MoMA Hot Mamas”, examines the idea that institutions like the MoMA are masculinized. In MoMA's collection, there is a disproportionate amount of sexualized female bodies by male artists on display compared to a low percentage of actual women artists included. According to data accumulated by the Guerrilla Girls, “less than 3% of the artists in the Modern Art section of New York’s Metropolitan Museum of Art are women, but 83% of the nudes are female”, even though “51% of visual artists today are women.” Duncan claims that, in regards to women artists: In the MoMA and other museums, their numbers are kept well below the point where they might effectively dilute its masculinity. The female presence is necessary only in the form of imagery. Of course, men, too, are occasionally represented. Unlike women, who are seen primarily as sexually accessible bodies, men are portrayed as physically and mentally active beings who creatively shape their world and ponder its meanings. This article narrows its focus on one institution to use as an example to draw from and expand on. Ultimately to illustrate the ways in which institutions are complicit in patriarchal and racist ideologies. Intersectionality Women of color