Sherrie Levine

[4] Much of Levine's work is explicitly appropriated from recognizable modernist artworks by artists such as Walker Evans, Edgar Degas, Marcel Duchamp, and Constantin Brâncuși.

Other appropriation artists such as Louise Lawler, Vikky Alexander, Barbara Kruger, and Mike Bidlo came into prominence in New York’s East Village in the 1980s.

[8] Other artists in the exhibition included Robert Longo, Troy Brauntuch, Jack Goldstein, and Philip Smith.

[8] Levine is best known for her series of photographs, After Walker Evans, which was shown at her 1981 solo exhibition at Metro Pictures Gallery in New York.

[10] The Estate of Walker Evans saw the series as a copyright infringement, and acquired Levine's works to prohibit their sale.

[16] The sculptures are displayed in individual glass vitrines, separate from one another so as to upset the structure of power depicted by Duchamp originally, allowing Levine to make a greater social commentary through her series.

[19][20] In November 2011, the Whitney Museum of American Art in New York mounted a survey exhibition of Levine's career titled Mayhem.

She was showcased in the exhibit Difference: On Representation and Sexuality in 1984 along with artists such as Barbara Kruger, Jeff Wall, and Mary Kelly.

Her appropriations of male artists' famous works combined with her intentional re-feminizing brings attention to the "difference problem" which this exhibit was focused on.

[26] Levine has noted her distaste for the voyeuristic quality of media culture, aligning with Laura Mulvey's analysis of the male gaze.