Like the photograph appearing on the cover, the book’s intention is obvious: to direct our attention toward a woman who is looking. “That is exactly what Women Street Photographers invites us to do,” writes Ariane Noël de Tilly, “to get to know the work of women photographers and the … events that they have captured in the public space.” Noël de Tilly describes this project, compiled from a series of annual exhibitions with the same title, as offering an overview in one hundred photographs whose rather free association “highlights the great variety of approaches to street photography.” This heterogeneous organization underlines “the happy coincidences linked to our experience of the public space.” Of the two essays included in the book, one evokes the intersection since the nineteenth century of two histories: that of photography and that of the status of women.