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The art canon is being prised open, writes Jackie Wullschläger, suggesting increased representation of women will be on museums’ agendas in the 2020s.

What a year it was for women artists — unprecedented, glorious, diverse. In New York, the Kenyan-American Wangechi Mutu’s towering caryatids currently front the Metropolitan Museum. In Shanghai, the Colombian Doris Salcedo won the inaugural $1m Nomura Art Award, the world’s largest art prize. In London no show compared, for memories of colour punching the eye, with the magentas, spring greens and shooting blues of Lee Krasner’s abstract paintings at the Barbican: a joyous revelation. Dora Maar’s photomontages and Nan Goldin’s photo diary “The Ballad of Sexual Dependency” at Tate Modern, Cindy Sherman’s identity puzzles at the National Portrait Gallery, celebrate women as indomitable pioneers in photography. “Why have there been no great women artists?” Linda Nochlin asked provocatively in 1971. Half a century later, the canon is being prised open...Keep reading on the Financial Times