To say the discussion on Extreme Makeovers: Visual Culture of Plastic Culture was disturbing would be an understatement. Tanya Sheehan did a wonderful job of facilitating questions, discussions, and insight around the topics, but it never fails to amaze and frustrate me the length to which the power of the male gaze has distorted our perception of female beauty. I think Jenny Seville’s 9 foot self portrait “Plan” (1993) highlighted the discussion of gaze in the context of visual culture brilliantly. As Sheehan said, “young girls see themselves in mirrors,” and in many ways, Seville is proposing this kind of visual. At least, partially. The unique aspect of Seville’s piece is in the multiple ways of seeing and knowing. Is she vulnerable? Powerful? In between? Is she the object of gaze, or is she looking down at us? Is she looking at herself? The artwork leaves the interpretation mostly to the viewer, and in this way, Seville turns the question of objectification back on us. How we perceive her perspective, then, says a great deal more about our way of seeing ourselves (or our womanness) than it does about Seville’s perception of herself. At the heart of this discussion on the visual culture of plastic surgery is the idea of woman’s body as an artwork; the problematic part of this is that it A) objectifies and dehumanizes the female body, B) because of the patriarchy, the viewer in mind is almost always a male, and C) the “artwork” is for a contorted sense of beauty and physical approval.