Engendering an avant—garde is the first book to comprehensively examine the origins of Vancouver photo—conceptualism in its regional context between 1968 and 1990. Employing discourse analysis of texts written by and about artists, feminist critique and settler—colonial theory, the book discusses the historical transition from artists’ creation of ‘defeatured landscapes’ between 1968–71 to their cinematographic photographs of the late 1970s and the backlash against such work by other artists in the late 1980s. It is the first study to provide a structural account for why the group remains all—male. It accomplishes this by demonstrating that the importation of a European discourse of avant—garde activity, which assumed masculine social privilege and public activity, effectively excluded women artists from membership.