In 1977, critic Douglas Crimp coined the term the “Picture Generation”, which encompasses figures like Cindy Sherman, Louise Lawler, Richard Prince and Sherrie Levine. In their work, the photographic image is no longer merely a result but a stage in a critical process involving actions like appropriation, staging, reframing and quotation. For Martha Wilson, a leading figure of feminist art in the United States, and for French artist Michel Journiac, photography became a weapon in the struggle against the stereotypes that it had helped establish in other contexts. In the form of photographic installations rather than autonomous images, these works are a kind of experiment, allowing the spectator to investigate different interpretations of the images. Michel Journiac, Louise Lawler, Richard Prince, Sherrie Levine, Cindy Sherman and Martha Wilson move away from the use of photography as a simple record of reality. For them, the photographic image is no longer just a form of evidence or proof of reality. Freed from its shackles, it can now be used to create forms of fiction, challenging notions of identity, and raising new questions about art, gender and identity.