Any female artist must engage with this double gaze of herself, always aware of the effect she has for an implied viewer. At the same time, her self-determination consists in manipulating the way she is surveyed. She need not fully identify with a male encoded gaze, indeed, she may also ironically trouble it. In the photographic series A woman. A mirror. A woman is a mirror for a man, Woodman carries to an extreme art history’s conventional reduction of the female body to a sight meant to give pleasure to an outside viewer. Turning her back to the mirror, she holds a sheet of glass in front of her naked body as though, trying to squeeze herself into the frame, she were viscerally turning herself into an image. Yet her fingers, feet, and head stick out so that no unified sight emerges. Instead, our attention is explicitly drawn to the visual tension between the part of the body pressed flat by the glass and those body parts that fall outside the frame. In other photographs from the series, her movements and the play of light on the glass blur the contours of her body, such that it appears only as a distortion. The image in the cheval mirror moreover includes its exterior frame, so that in the photograph that shows Woodman calmly contemplating her own self-image like a female Narcissus, the blurry body in front of the mirror is reflected by a surface which, on the upper edge, offers a double frame.