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Art and art history, according to Dr. Reilly, might benefit from a more inclusive approach and a reevaluation of current paradigms. She stresses the importance of "rewriting art history from a feminist perspective," which means giving due credit to women and underrepresented groups who have been ignored or marginalized throughout history. Dr. Reilly goes on to say that intersectionality is crucial to curatorial work. Art curators, she says, "We must think about how gender intersects with other forms of social difference." This is in reference to the complicated ways in which gender, sexuality, class, and race all interact in an exhibition. Dr. Reilly proposes a sea change in power dynamics and institutional practices as he foresees the art world's future. She hopes that one day "museums will be more reflective of the societies they serve," meaning that they will strive to attract a wide range of people and tackle important societal problems. In conclusion, Dr. Maura Reilly argues that curatorial activism is all about fighting for marginalized artists and stories, building inclusive spaces, and questioning established power structures. Curatorial approach that embraces intersectionality and rewrites narratives from multiple viewpoints will enrich art and art history. Museums and galleries should mirror society in the future by welcoming all kinds of people and speaking out on important social concerns.

“On investigating price differentials, and sex–race ratios in galleries, within thematic and national exhibitions, and in the press, the numbers demonstrate that the fight for equality is far from over.”

    Galleries, shows, and the media all have sex-race ratios and price disparities that, when studied, expose institutional biases that perpetuate the marginalization of some artists. It shows an ongoing requirement for engagement and advocacy to combat these inequalities and advance greater equality in the arts. If we want to see real change in the art world, we need to keep fighting for equity, and these numbers serve as a clear reminder of that.

“These are not issues from the past, folks. This is now. We are living and working in an art world that cares little about racism and sexism, a world that appears to pre-date the women’s/civil and LGBTQ rights movements”

Taking apart systemic injustices requires constant resistance and activism, as this argument stresses with its urgency. The text encourages everyone involved in the art world to tackle these problems directly and make sure that fairness and equality are respected in all creative forms and discussions.

• “in his hands, these ‘masters’ become slaves to his politics."

Bell's political goal and the usual power relations inside the art world are both shown in his ability to appropriate and disrupt the works of established artists. This proves that art may be a potent instrument of resistance and social commentary by reshaping and rewriting current stories to benefit those who are underprivileged.  The flexibility of artistic expression and its power to challenge and destroy long-established oppressive regimes are both emphasized by Bell's method.

• "Critical theory is not enough; we must re-examine cultural objects and social practices to understand the patterns of everyday life that shape the past and inevitably imprint the future."

The quote supports a more comprehensive approach to comprehending historical and present concerns by arguing for a closer look at daily life. Meaningful transformation needs a thorough awareness of the different elements which impact our shared experiences and goals. It essentially requires a more educated and comprehensive approach.