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This article reflects on the impact of #MeToo on the artworld. It examines some of the debates the movement spurred, such as censorship and whether or not we can separate the ‘man’ from ‘his’ work, with examples from recent curating around the world. The article uses feminist art history and theories of authorship to show that narratives of artistic temperament and genius are outdated but contribute to a society that indulges the perpetrators of #MeToo. It is demonstrated that the market’s investment in this art/artist relationship propagates a system of abuse. Alternative models of authorship are analysed to demonstrate that there are other ways of authoring and understanding art, which could radically shift current asymmetries and abuses of power. These include the anonymous Guerrilla Girls and the pseudonymous duo Bob and Roberta Smith. These artists toy with narratives of artistic genius and actively work against sexism in the artworld. The article concludes that we must still consider the biography when interpreting works – for the personal is part of #MeToo – but calls for a more holistic understanding of the artworld and its financial infrastructures in order to challenge its own apparatus.

In light of #MeToo: reconsidering the art/artist relationship for better futures