▁referred ▁to ▁as ▁either ▁mother ▁or ▁sed uct ress ▁and ▁rarely ▁presented ▁in ▁terms ▁of ▁a ▁female ▁perspective . ▁This ▁port ray al , ▁set ▁within ▁Pop ▁art , ▁was ▁pre domin ately ▁determined ▁by ▁male ▁artists , ▁who ▁commonly ▁port rayed ▁women ▁as ▁comm od it ized ▁sex ▁objects . ▁As ▁Jud y ▁Chicago ▁explained ▁to ▁Hol ly ▁Williams ▁in ▁her ▁interview ▁for ▁" The ▁Independent " ▁in ▁ 2 0 1 5 , ▁there ▁was ▁very ▁little ▁recognition ▁for ▁female ▁artists ▁and ▁artists ▁of ▁color . ▁Art ists ▁like ▁Mar is ol ▁never ▁received ▁the ▁attention ▁they ▁des erved . ▁She ▁was ▁one ▁of ▁many ▁artists ▁dis reg arded ▁due ▁to ▁the ▁existing ▁modern ist ▁canon , ▁which ▁position ed ▁her ▁outside ▁of ▁the ▁core ▁of ▁pop ▁as ▁the ▁femin ine ▁opposite ▁to ▁her ▁established ▁male ▁counter parts . ▁Working ▁within ▁a ▁patri arch al ▁field , ▁women ▁often ▁obsc ured ▁their ▁gender ▁identity ▁in ▁fear ▁of ▁their ▁work ▁being ▁reduced ▁to ▁a ▁' f em ale ▁sens ibility '. ▁Mar is ol ▁was ▁one ▁of ▁the ▁few ▁who ▁emb rac ed ▁her ▁gender ▁identity . ▁Crit ical ▁evaluation ▁of ▁Mar is ol ' s ▁practice ▁concluded ▁that ▁her ▁femin ine ▁view ▁was ▁a ▁reason ▁to ▁separate ▁her ▁from ▁other ▁Pop ▁artists , ▁as ▁she ▁offered ▁sentiment al ▁sat ire ▁rather ▁than ▁a ▁dead pan ▁attitude . ▁ ▁Like ▁many ▁artists ▁at ▁that ▁time ▁fe ared , ▁the ▁female ▁sens ibility ▁was ▁the ▁reason ▁Mar is ol ▁was ▁often ▁marg inal