Perhaps they have internalized and are cooperating with the West's construction of not-white women as not-to-be-seen. How could they/we not be affected by that lingering structure of invisibility, enacted in the myriad codicils of daily life and still enforced by the images of both popular and high culture? How not get the message of what Judith Wilson calls "the legions of black servants who loom in the shadows of European and European-American aristocratic portraiture," of whom Laura, the professional model that Edouard Manet used for Olympia's maid, is in an odd way only the most famous example? Forget euphemisms. Forget "tonal contrast." We know what she is meant for: she is Jezebel and Mammy, prostitute and female eunuch, the two-in-one. When we're through with her inexhaustibly comforting breast, we can use her ceaselessly open cunt. And best of all, she is not a real person, only a robotic servant who is not permitted to make us feel guilty, to accuse us as does the slave in Toni Morrison Beloved (1987). After she escapes from the room where she was imprisoned by a father and son, that outraged woman says: "You couldn't think up what them two done to me," Olympia's maid, like all the other "peripheral Negroes," is a robot conveniently made to disappear into the background drapery. --Lorraine O'Grady, New Feminist Criticism: Art, Identity, Action (Icon Editions, 1994 ).