Last year these authors addressed an issue in these pages that echoed Linda Nochlin 's (1971) haunting question, "Why have there been no great women artists?" (Clark, Folgo, & Pichette, 2005). That essay examined the question, "Have there now been any great women artists?" through a study of art history textbooks primarily written for college students. The authors reasoned that if women artists are to be reckoned great, their achievements would have to be recognized by the writers of such books. This initial study found that more recent art-history textbooks--written in the last 15 years or so--are much more likely to recognize women artists than their pre-1974 counterparts. Kathe Kollwitz, Sofonisha Anguissola, Mary Cassatt, Artemisia Gentileschi Judith Leysterjudy Chicago, Dorothea Lange, Frida Kahlo, Louise Nevelson, and Georgia O'Keeffe are recognized in almost all contemporary college texts. The bad news was that there are still some influential books that have held the line against acknowledging distaff contributions. The 2002 edition of Gombrich, for instance, failed to recognize a single woman artist other than Kollwitz. An investigation of nine contemporary art history texts led these authors to speculate that there are essentially two types of authors who say there have been great women artists: women art historians and authors who self-consciously address high school audiences. (Contains 3 tables and 4 endnotes.)