Sherman similarly uses photography to examine how women are positioned within cultural and institutional frameworks, constructing images that question the relationship between subject, representation, and the male gaze in art history.

Levine directly appropriates canonical works by male artists like Picasso to interrogate authorship, originality, and institutional value, sharing Lawler's conceptual strategy of placing established art under critical scrutiny.

Haacke consistently investigates the institutional spaces of museums and galleries as ideological structures, exposing the social and economic conditions that determine how art objects and their viewers are positioned and valued.