Autotheory—the commingling of theory and philosophy with autobiography—as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts ; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. A useful intellectual history of the 'autotheoretical impulse.'-- Art in America Autotheory as Feminist Practice , then, excels as a "here we are now" grounding; a nervy, contemporary feminist art history syllabus.-- Hyperallergic A comprehensive monograph that poses a real range of considerations for both artistic and literary autotheory scholarship and practice.-- Contemporary Women's Writing Rather than being a dense theoretical tome, the text is populated with a number of sensuous, defiant, provocative film stills and photographs of multivalent artworks. Among the most evocative aspects of the text is a general aim at decentring. Fournier gives considerable attention to inverting margins, both structurally and conceptually.-- The Humber Literary Review Anyone interested in contemporary feminist art and writing practices would benefit from reading Fournier's book about this exciting new way of infiltrating theory that has hitherto been dominated by a patriarchal, Eurocentric elite.-- BookArts This book is captivating--reading it is an experience akin to the first moment venturing into Judith Butler's Gender Trouble: Feminism and the Subversion of Identity .-- Woman's Art Journal Autotheory as Feminist Practice is a great tool for discussion and exchange, and not simply a guide. It is a wonderfully rich source, and surely an essential contribution not only to those interested in autotheory: Many of the discussions in it are relevant to anyone engaging with wider concerns in contemporary art, writing, and criticism.-- Passage Lauren Fournier, a writer, independent curator, and artist, teaches critical theory, art history, and artists' writing at the University of Toronto, where she is a postdoctoral fellow in visual studies.