What Linda Nochlin has bequeathed to future art historians and art lovers—her trenchant, socially informed, feminist approach toward painting, particularly that of 19th-century France; her championing of women artists; her openness toward novel manifestations in the visual arts—hardly needs restating. But recently, finding myself rereading her 1971 survey text on Realism, I was struck by a less expected contribution: her acute analysis of contemporaneity.