What did Warhol and his male Pop Art peers have over Marjorie Strider's contemporaneous paintings of bathing beauties, Martha Rosler's wicked collages about women's work and about Vietnam, or Jann Haworth's creepy, soft sculpture of a French maid? "Seductive Subversion" at the Tufts University Art Gallery, originally organized by Sid Sachs for the University of the Arts in Philadelphia, recovered a repressed history of the ladies of Pop to suggest that the reason they are often left out of the story is simply genitalia. But if Pop was defined as slick, apolitical, manufactured riffs on Madison Avenue imagery, is it a surprise that activists like Rosler were left out?
READ MORE: "Review: Women and Welty," by Greg Cook
SLIDESHOW: " 'Seductive Subversion' at Tufts, '24/7' at DeCordova"