Conceptual artist Renée Greene’s work "Seen" (1990) is also mentioned as representation based on Black female subjectivity, except according to O’Grady, the work falls short "because it is addressed more to the other than to the self" O’Grady discusses the struggle in depicting race, identity and proper representation as a Black female artist, drawing examples from her own artwork: the politics of skin color, hair texture and facial features. In privileging a facial feature that looks a particular way over another or in pairing light and dark skin tones, hierarchies of difference are created. These hierarchies of difference exist because of historical ideologies and they have difficulty breaking down because they are supported by the preconceived importance of the whiteness in the West. O’Grady states:"to win back that position for the African-American female will require balancing in mental solution a subversion of two objects which may appear specifically distinct: on one hand, phallocentric theory; and on the other, the lived realities of Western imperialist history" It comes from the understanding of the structures put in place by these two theories and an overall restructuring of these theories for progress to be made. Social change cannot happen, she writes, without the reorientation of the systems that exist to subjugate Black people.