By appropriating the mass-produced reproductions of paintings by modern masters, Sherrie Levine question notions of originality with her work. She purposefully copies only the works of white male artists, who have long been the dominant force in the art world. Levine cleverly feminizes their works by copying their heroic oil paintings as small, intimate watercolors, a medium traditionally deemed more feminine than others. Levine comments on the proliferation of images in society and their secondhand reality by painstakingly replicating the size and color distortions of art reproductions, thus underscoring the inaccuracy and hollowness of mechanical reproductions that often influence our perspective.