Sherman similarly uses staged gelatin silver photography to construct conceptual feminist narratives, placing objects and costumed personas within carefully composed scenes that interrogate female identity and consumer culture, directly paralleling Simmons' object based approach.

Kruger shares Simmons' commitment to feminist conceptual art that critiques commodity culture and the objectification of women, using photographic imagery and bold visual language to challenge viewers' assumptions about gender and consumerism.

Skoglund constructs elaborate staged photography scenes that treat everyday objects as conceptual and surreal elements, sharing Simmons' technique of elevating mundane consumer objects into fine art prints that carry psychological and cultural weight.