The essays in Interfaces explore twentieth-century women artists' self-representation at the interface of visual image, written text, and performance. Fourteen contributors consider how these artists use multiple media -- painting, photography, performance, sculpture, story, song, poem, manifesto -- to create hybrid self-portraits that intervene in critical debates about subjectivity, feminism, and the history of representation in the West.The artists discussed include modernist iconoclasts Baroness Elsa von Freytag-Loringhoven performing dadaist parodies, Claude Cahun reframing photographic self-portraiture across gendered divides, Frida Kahlo making diaries that fuse words and images, and Charlotte Salomon painting a vivid song-play of Nazi-era Berlin. In the later twentieth century, experiments in self-representation redefine the terms of autobiographical subjectivity. Laurie Anderson's innovative works put the personal self into question. Hannah Wilke performs femininity as masquerade, while Jo Spence points up its distorting mirrors. Orlan's surgically remade face undercuts the disciplining of beauty. Adrian Piper corners the racist bias of the viewer, while Lorna Simpson exposes the ambivalences of American citizenship. Susan King, Joan Lyons, and Erika Lopez make artistic lives in and as books. The performative interventions of Bobby Baker and Blondell Cummings remake the scene of domesticity, while Louise Bourgeois constructs topographic spaces that trouble it. Faith Ringgold, Jenny Saville, and Janine Antoni weigh in on the female body of evidence. Lorie Novak queries the terms of identity in cyberspace, Cindy Sherman in the everyday life of photographic subjects.