▁the ▁gaz e ▁of ▁the ▁public . ▁The ▁women ▁are ▁sculpt ed ▁as ▁calculated ▁and ▁' c ivil ized ' ▁in ▁their ▁manner , ▁monitoring ▁both ▁themselves ▁and ▁those ▁around ▁them . ▁Two ▁of ▁women ▁even ▁have ▁several ▁cast ▁faces , ▁surve ying ▁the ▁scene ▁and ▁following ▁the ▁subject ' s ▁traject ory ▁in ▁full ▁motion . ▁Their ▁st iff ▁persona ▁is ▁emb od ied ▁from ▁within ▁the ▁wooden ▁construction . ▁The ▁sculpt ural ▁practice ▁of ▁Mar is ol ▁simultaneously ▁dist anced ▁herself ▁from ▁her ▁subject , ▁while ▁also ▁re int rodu cing ▁the ▁artist ' s ▁presence ▁through ▁a ▁range ▁of ▁self - port rait ure ▁found ▁in ▁every ▁sculpt ure . ▁Un like ▁the ▁majority ▁of ▁Pop ▁artists , ▁Mar is ol ▁included ▁her ▁own ▁presence ▁within ▁the ▁critique ▁she ▁produced . ▁She ▁used ▁her ▁body ▁as ▁a ▁reference ▁for ▁a ▁range ▁of ▁draw ings , ▁paint ings , ▁photograph s , ▁and ▁cast s . ▁This ▁strategy ▁was ▁employed ▁as ▁a ▁self - crit ique , ▁but ▁also ▁identified ▁herself ▁clearly ▁as ▁a ▁woman ▁who ▁faced ▁pre jud ices ▁within ▁the ▁current ▁circumstances . ▁As ▁Lu ce ▁Ir ig ar ay ▁noted ▁in ▁her ▁book ▁This ▁Sex ▁Which ▁is ▁Not ▁One , ▁" to ▁play ▁with ▁m imes is ▁is ▁thus , ▁for ▁a ▁woman , ▁to ▁try ▁to ▁recover ▁the ▁place ▁of ▁her ▁explo itation ▁by ▁disc ourse , ▁without ▁allowing ▁herself ▁to ▁be ▁simply ▁reduced ▁to ▁it . ▁It ▁means ▁to ▁res ub mit ▁herself ▁… ▁to ▁ideas