This article reflects on the impact of #MeToo on the artworld. It examines some of the debates the movement spurred, such as censorship and whether or not we can separate the ‘man’ from ‘his’ work, with examples from recent curating around the world. The article uses feminist art history and theories of authorship to show that narratives of artistic temperament and genius are outdated but contribute to a society that indulges the perpetrators of #MeToo. It is demonstrated that the market’s investment in this art/artist relationship propagates a system of abuse.

Alternative models of authorship are analysed to demonstrate that there are other ways of authoring and understanding art, which could radically shift current asymmetries and abuses of power. These include the anonymous Guerrilla Girls and the pseudonymous duo Bob and Roberta Smith. These artists toy with narratives of artistic genius and actively work against sexism in the artworld.

The article concludes that we must still consider the biography when interpreting works – for the personal is part of #MeToo – but calls for a more holistic understanding of the artworld and its financial infrastructures in order to challenge its own apparatus.

本文反思了 #MeToo 对艺术界的影响。它审视了该运动引发的一些争论，例如审查制度以及我们是否可以将“人”与“他的”作品分开，并以最近世界各地策展的例子为例。文章利用女权主义艺术史和作者理论来表明，对艺术气质和天才的叙述已经过时，但却有助于一个纵容#MeToo 肇事者的社会。事实证明，市场对这种艺术/艺术家关系的投资会传播一种滥用制度。

对作者身份的替代模式进行了分析，以证明还有其他创作和理解艺术的方式，这可以从根本上改变当前的不对称和权力滥用。其中包括匿名的游击女孩和化名二人组鲍勃·史密斯和罗伯塔·史密斯。这些艺术家玩弄艺术天才的叙事，并积极反对艺术界的性别歧视。

文章的结论是，我们在解读作品时仍然必须考虑传记——因为个人是#MeToo的一部分——但呼吁对艺术世界及其金融基础设施有更全面的理解，以挑战其自身的机制。