Since the 1970s, Cindy Sherman has mimicked many pictorial genres – the film still, fashion photography, the centerfold, and historical portrait painting. In her work, Sherman uses her own body as a vehicle for commentary on issues of identity and female representation. In the exhibition piece, Untitled, she presents a nightmarish arrangement of fake blood and prosthetic appendages. According to Sherman, her work is not meant to fool, but “prepare the viewer for violence.”