对一位来自20世纪60年代的被忽视的艺术家的一项启发性研究，她的作品最近又重新成为人们关注的焦点。

这是对李•洛扎诺（1930–1999）的十年另类职业生涯的首次深入研究，确定了这位重要艺术家在战后艺术史上的关键地位。本书记录了洛扎诺（Lozano）在20世纪60年代的纽约的全部作品，从描绘残破工具，生殖器和其他身体部位的粗俗素描和油画作品，到1970年她在惠特尼美国艺术博物馆的最后一次展出的漂亮的抽象画系列“波幅绘画”。

本书正面探讨了洛萨诺对艺术史，尤其是对女权主义艺术史的挑战，既谈及了她的失败，也谈及了她的成功，并论证到，在经历了绝境之后，她努力地寻求另一种生活方式。《李•洛扎诺：不作为》在寻找思考洛扎诺之类的复杂人物的方式，这些人物的激进，政治上模棱两可的姿态检验了我们对女权主义和“正确的生活方式”的假设。

An illuminating study of an overlooked artist from the 1960s whose work has recently returned to the limelight

This is the first in‑depth study of the idiosyncratic ten‑year career of Lee Lozano (1930–1999), assuring this important artist a key place in histories of post‑war art. The book charts the entirety of Lozano’s production in 1960s New York, from her raucous drawings and paintings depicting broken tools, genitalia, and other body parts to the final exhibition of her spectacular series of abstract “Wave Paintings” at the Whitney Museum of American Art in 1970.

Highly regarded at the time, Lozano is now perhaps best known for Dropout Piece (1970), a conceptual artwork and dramatic gesture with which she quit the art world. Shortly afterwards she announced she would have no further contact with other women. Her “dropout” and “boycott of women” lasted until her death, by which time she was all but forgotten. This book tackles head‑on the challenges that Lozano poses to art history—and especially to feminist art history—attending to her failures as well as her successes, and arguing that through dead ends and impasses she struggled to forge an alternative mode of living. Lee Lozano: Not Working looks for the means to think about complex figures like Lozano whose radical, politically ambiguous gestures test our assumptions about feminism and the “right way” to live and work.