Linda Nochlin posed the question, “Why are there no great women artists?” Immediately she points out that the white, western, male viewpoint proves to be inadequate on intellectual grounds along with moral and ethical ones. In order to achieve an adequate and accurate view of historical situations the domination of the white male subjectivity is one intellectual distortion that must be corrected. Engaged feminist intellect can pierce through the cultural ideological limitations of the time to reveal biases and inadequacies in the way of formulating crucial questions of history. The question of great women artists throughout art history can become a catalyst, probing basic and “natural” assumptions, by providing a paradigm for other kinds of internal questioning. The question, if answered adequately, can spill over into other fields of history such as the social sciences, psychology, and literature. 
When asked the question “If women really are equal to men, why have there been any great women artists?” the feminist’s first reaction is to dig up examples of worthy or insufficiently appreciated women artists throughout history and make a case for them like many other specialist scholars. While this is worth the effort, attempting to answer the question this way reinforces negative implications. Another attempt to answer this question involves asserting the idea that there is a different kind of “greatness” for women’s art, which reinforces ideas of a recognizable feminine style based on the special character of women’s situation and experience. While this may seem like a reasonable explanation on the surface, it has yet to occur in history. Instead, artists seem to be more closely related in style to other artists of the same time period with the same outlook. 
The fact of the matter is that, while there has been interesting and under appreciated ones, there have been no supremely great women artists as far as we know. The actuality is that the arts have been oppressive and discouraging to women, and all other who did not have the good fortune to be born white, middle class, and male. Instead of viewing this as a problem, women must conceive of themselves as equal subjects and be willing to face the facts without self-pity or cop outs. The question of women’s equality devolves on the vary nature of our institutional structures and the view of reality which they impose on people who are part of them. 
Jiro Yoshihara stated that with present day awareness arts appear to us, in general, to be fakes. The are an illusion with which by human hand and by way of fraud, materials are loaded with false significance. Under the cloak of an intellectual aim, the material has been completely murdered and can no longer speak to us. However, Jiro Yoshihara said that Gutai art does not change the material, it brings it to life. In Gutai art, the spirit and the material reach out hands to one another. The material is not absorbed by the spirit. Gutai recognizes that art is home of the creative spirit.
