 Judith Butler argues that the label of feminism works against the integration of a larger spectrum of ideas relating to gender and identity into the discourses about art by encapsulating feminist arguments as a separate strain of history or art history.Feminist art historians have also emphasized Kubota and other women artists' estrangement and marginalization from the Fluxus movement.Midori Yoshimoto writes that Kubota's "Vagina Painting", which is her most explicit work about gender in art, was poorly received by her peers involved in Fluxus, similarly to ways in which Yoko Ono and Carolee Schneemann's performances were considered 'un-Fluxus' because of their strong emphasis on feminine subjects.