half collaged with cigarettes—and VOX POP DORIS (2018), a pair of eleven-foot-tall thigh-high platform boots cast in concrete. The exhibition traveled to the Hammer Museum in Los Angeles in June 2019. The National Gallery of Australia's 2021-22 Know My Name Exhibition Part Two features the work Installation of Project 1: Sarah Lucas, as well as her first self-portraits, Eating a Banana. Numerous works by Lucas feature in the exhibition Big Women at the firstsite gallery in Colchester in the UK in Spring 2023. Feminist interpretation Lucas frequently employs a critical humor in her work in order to question conventions and highlighting the absurdity of the everyday. One of Lucas’ most famous works Two Fried Eggs and Kebab, parodies the traditional still life and evokes similarities between itself and feminist Judy Chicago’s infamous piece The Dinner Party. Feminist reviews often describe Lucas as attempting to add female artists into the canon of art history through her analytical work that predominantly discusses the female body and voyeurism. Lucas frequently appropriates masculine constructions to confront and dissect their nature. Her pieces represent a fantastical world and playfully employs unrealistic ideals to unearth obscene paradoxes created by those very constructions. Specifically, she is concerned with the casual misogyny of everyday life and employs the conventions of middle class or ‘street’ language to enact her concepts. Her appropriation of masculine symbols such as the phallic banana or ‘fried eggs’ in conjunction with her fearless and dominating gaze, takes ‘female work’ out of the feminine sphere and disrupts the patriarchal power dynamic of the gaze. Works such as The old in Out (1988) is a reference to Marcel Duchamp’s Fountain (1917) and Two Fried Eggs and Kebab (1992) has been linked to Édouard Manet ’s Olympia (1863). While Lucas continues the artistic legacy of feminist artists such as Hannah Wilke, Cindy Sherman, and Rachel Whiteread, her visual language empties femininity of meaning and thus removes her from such a clear ‘feminist art’ title. Sexuality is not apparent in her works and a lack of association with morality leaves viewers at the free will of her humorous narratives. Lucas takes on the role as a source of reflecting sexism, but not overtly commenting on it. She has stated that, “I am not trying to solve the problem. I'm exploring the moral dilemma by incorporating it”. Her works are both literal and conceptual evidence of Lucas searching for