This paper regards the text-and-image montage of Barbara Kruger(b.1945) as a critique of the stereotyped representations of women in late capitalist consumer society. By appropriating the devices of advertising and mimicking spectacle (Sussman, 1989: 10-13), Kruger calls into question the representations of women in mass media and ultimately intends to expose and depose the “system of subjection”(Owens, 1992). The issues of the commodification and the consumption of images are central to a group of American artists in the 1980s, including Barbara Kruger, Jenny Holtzer, Richard Prince, and Cindy Sherman. Although those American artists do not refer to the Situationists International in the late 1950s and early 1960s, they share the Situationists' goals that intend to revitalize art by negating its traditional values as a precious and exchangeable object. Taking on the legacy of the political intention of the Situationists, Kruger perceives representations as an integral part of the social process of controlling power, which is never neutral.