Throughout art history there has been the idea of “feminine stereotype” of decorative arts and crafts and a “masculine stereotype” of high art. This idea was steeped in the ideals of European academic theory and helped to undermine the status of decorative arts and crafts in relation to high art. Chicago has addressed this idea of separation in the “Dinner Party” with the inclusion of ceramic painting and the use of decorative design as a central part of the work. But how should we value decorative arts and crafts, in relation to art as a whole. Feminist theory has struggled to agree on how arts and crafts “should be reconceptualized” raising the question whether decorative arts and crafts deserve to be included in the canon of art and of what values should be used to define the status of objects of art and who should decide whether or not they should be included in the canon.