Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
[In science any model depends on a pre-chosen taxonomy] a set of classifications into which we divide the enormous complexity of the real world. . . Land, labor, and capital are extremely heterogeneous aggregates, not much better than earth, air, fire, and water.