He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or "picture," inherited from the history of painting, with the works of the "Pictures Generation"--including Richard Prince, Cindy Sherman, and Jack Goldstein--and argues that Picture for Women is inseparable from the modern fate of the picture in general
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