"The deconstructive impluse that animates this work has also suggested affinities with poststructuralist textual strategies, and much of the critical writing about these artists-including my own-has tended to simply translate their work into French. Certainly, Foucault's discussion of the West's strategies of marginalization and exclusion, Derrida's charges of "phallocentrism," Deleuze and Guattari's "body without organs" would all seem to be congenial to a feminist perspective. (As Irigaray has observed, is not the "body without organs" the historical condition of women?) Still, the affinities between poststructuralist theories and postmodernist practice can blind a critic to the fact that, when women are concerned, similar techniques have very different meanings. Thus, when Sherrie Levine appropriates-literally takes-Walker Evans's photographs of the rural poor or, perhaps more pertinently, Edward Weston's photographs of his son Neil posed as a classical Greek torso, is she simply dramatizing the diminished possibilities for creativity in an image-saturated culture, as is often repeated? Or is her refusal of authorship not in fact a refusal of the role of creator as "father" of his work, of the paternal rights assigned to the author by law? (This reading of Levine's strategies is supported by the fact that the images she appropriates are invariably images of the Other: women, nature, children, the poor, the insane....) Levine's disrespect for paternal authority suggests that her activity is less one of appropriation: she expropriates the appropriators."