In this article, the authors focus on the degree to which women artists have been brought into the mainstream of art history by art historians in their textbooks. They then examine the characteristics of art historians who have been most and least likely to admit women into their versions of art history, and discuss how the definition of art itself may have been affected by the inclusion of women. Finally, the authors return to the question of "greatness" and whether the term can now be applied to any women artists. (Contains 2 tables and 2 endnotes.)