One of the first photorealist painters to be included in the Museum of Modern Art’s permanent collection, Audrey Flack focused the early years of her career on large-scale paintings of still lifes that drew from 17th-century Dutch vanitas painting—updated through a contemporary lens—and brought feminine identities under scrutiny. In meticulous, complex arrangements of fruit, flowers, candles, makeup, and ladies’ accouterments, Flack’s loaded symbolic tableaus address stereotypes of the female ideal. Since the 1980s, Flack has turned her focus to monumental sculpture: “Making sculpture attracted me because of its substantiality,” she has said. In her Neoclassical public sculptures of gilded bronze angels, muses, and goddesses, Flack mines Greek mythology, presenting the female in an array of archetypal guises. Though some critics have condemned her focus on the classical white female, Flack is an avowed feminist, and many of her sculptures seek to reinvent their subjects and source material.