Abstract
Fifty years after Linda Nochlin published her revolutionary article, ‘Why Have There Been No Great Women Artists?’, art historians are still grappling with the canon. Part Research Article and part Position Essay, this paper examines the problem through the lens of Thomas Kuhn’s famous ‘paradigm shift’ theory of 1962, which offers an intriguing solution. The model suggests that although we may never eliminate the canon, we can move beyond it if we embrace our innate subjectivity and usher in a new art history guided by the principles of poststructuralism.
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