Changes in Gender Approaches—The Phenomenon of Neo-Prudery

Abstract

In everyday perception, there is a growing sense that feminism and the #MeToo movement are “going too far,” while sexual “deviations” appear overly prominent. Women’s rights have undeniably expanded, moving from the confines of academic discourse into the wider public arena. At the same time, however, the acceptance of non-heteronormative identities—though framed as a progressive development—is increasingly contested, in some cases even facing legislative backlash. Judith Butler’s latest book, Who’s Afraid of Gender? (2024) also addresses this phenomenon. Our relationship with the naked body has, in recent years, taken on paradoxical dimensions. Bodily and personal boundaries are no longer limited to physical functions and touch but have come to encompass visual representation itself. Since the 1990s, significant regression is evident: while pornography attracts an ever-expanding audience, the public display or artistic representation of the body faces increasing restriction. Society seems to have swung to the opposite extreme, adopting a markedly rigid stance on nudity. This development is encapsulated in the rise of neoprudery.” Social media policies banning nudity exemplify this trend, with repercussions not only for contemporary art but also for the canon of art history—and at times, even for museum programming. This study analyzes neo-prudery through the works of Valie Export and Marina Abramović, as well as cases of banned artworks.