It was an internal dialogue.” Unlike the first-generation feminist artists, who tended to take things personally, Nochlin adopted a historical view, exploring the myths behind the assumption of what she called “the white-male-position-accepted-as-natural.” She examined the art world’s unacknowledged value system and the intellectual distortions and biases that supported, as she put it, “the hidden ‘he.’” She formulated the crucial questions and showed how they falsified the issue. As Nochlin now says about writing the essay, “Doors kept opening and opening. Yet in its utter simplicity was a wealth of complexity, based on wide-ranging research. Nochlin’s premise, like most great ideas, was so simple, so logical, and so obvious that readers could only wonder why no one had ever noticed any of these things before.
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