Sherman's photographic practice directly parallels Collier's work through her sustained examination of female identity, representation, and the constructed nature of femininity using film stills and popular cultural archetypes as source material. Both artists use photography to interrogate how women are framed and defined by mass media imagery.

Kruger shares Collier's feminist critique of visual culture and mass media representations of women, appropriating existing imagery to expose the ideological assumptions embedded in popular culture. Her conceptual approach to photography as a vehicle for feminist analysis aligns closely with the critical strategy at work in this piece.

Levine's appropriation based photographic practice mirrors Collier's method of recontextualizing and reinterpreting pre existing cultural imagery to interrogate questions of authorship, gender, and representation. Both artists engage critically with the histories and ideologies embedded within found visual material.