Feminist art criticism emerged in the 1970s from the wider feminist movement as the critical examination of both visual representations of women in art and art produced by women. It continues to be a major field of art criticism. Emergence Linda Nochlin's 1971 groundbreaking essay, "Why Have There Been No Great Women Artists?", analyzes the embedded privilege in the predominantly white, male, Western art world and argued that women's outsider status allowed them a unique viewpoint to not only critique women's position in art, but to additionally examine the discipline's underlying assumptions about gender and ability. Nochlin's essay develops the argument that both formal and social education restricted artistic development to men, preventing women (with rare exception) from honing their talents and gaining entry into the art world. In the 1970s, feminist art criticism continued this critique of the institutionalized sexism of art history, art museums, and galleries, as well as questioning which genres of art were deemed museum-worthy. This position is articulated by artist Judy Chicago: "...it is crucial to understand that one of the ways in which the importance of male experience is conveyed is through the art objects that are exhibited and preserved in our museums. Whereas men experience presence in our art institutions, women experience primarily absence, except in images that do not necessarily reflect women's own sense of themselves." In 1996 Catherine de Zegher curated the groundbreaking show of women artists Inside the Visible, that travelled from the ICA Boston to the Whitechapel in London, using the theoretical paradigmatic shift by the artist, philosopher and psychoanalyst Bracha L. Ettinger: the matrixial gaze, space and sphere.<ref>Ettinger, Bracha L., The Matrixial Borderspace (essays 1994-1999), University of Minnesota Press, 2006</ref> Bracha L. Ettinger wrote the introductory theoretical framework, art historian Griselda Pollock contextualised Ettinger's theory and de C. Zegher's curatorial project, in what became since then a cornerstone in feminist art history. In 2000, C. de Zegher organised a conference to look at Linda Nochlin's challenging question thirty years after. Highly significant female curators of the time, like Griselda Pollock, Lisa Tickner, Molly Nesbit, Ann Wagner, Emily Apter, Carol Armstrong and others presented the feminist art criticism in whose origin and revolution they took active part. Following this, Griselda Pollock published her Virtual Feminist Museum book (2007). Genius Nochlin challenges the myth of the Great Artist as 'Genius' as an inherently problematic construct. 'Genius' “is thought of as