When asked why it was just men included in the series, Stehli says that one shot included a woman, but she cut it from the series because “the tension wasn’t there” when she stripped for another female. “The series is quite deliberately literal – it’s spelling something out. The male-female thing fitted into that – it’s a simplified structure. It’s asking what they think about me as a woman and a naked body, as well as me professionally.”

Also using photography and performance to draw attention to gender imbalance in the art world was the late American artist Hannah Wilke, whose work is placed alongside Stehli’s in the Tate show. In the 1970s, Wilke incorporated her own image in a lot of her photography work – which, like Stehli’s work, would often involve a performance, captured on film, that plays with the boundaries between sexuality and career. That is, until Wilke was diagnosed with Lymphoma and used her camera to chart her chemotherapy.

“In the 70s Wilke would call up gallerists she knew and flirt with them and record it,” says Stehli. “Her early works were provocative, pointing at [gender] structures that were there. Some people were very for it, some very against.” In this sense, both artists’ work has been problematic: they critique the male gaze by putting themselves in front of it. Which, to some critics, has been seen as counterintuitive. Stehli acknowledges this: “That is the problematic aspect of my Strip works,” she says, “It’s an unpalatable method of production.”