For more than 40 years Cindy Sherman has been celebrated for her extraordinary ability to create vivid scenes and characters. She first captivated the art world with her Untitled Film Stills (1977–80), a landmark series of eight by ten-inch black-and-white photographs in which she transforms herself into an astonishing variety of female stereotypes drawn from Hollywood and European art-house films as well as B movies.(1) The Stills inspired countless critics to discuss Sherman’s work in relation to the medium of film, with cinematic terms—such as director, auteur, actress, makeup artist, costume designer, stylist, and lighting technician—often being used to describe the artist. Less frequently discussed, though equally important for understanding Sherman’s work, is her use of print media, especially magazines. Since early in her career she has investigated the visual conventions of magazines—from pulp and confession rags to fashion and men’s erotic magazines—and considered their effects on our individual and collective psyches. This book is about one of Sherman’s earliest forays into the visual culture of magazines, the so-called Centerfolds series (1981)—specifically Untitled #96—in which she explores issues of representation, power, and gender in relationship to the pornographic centerfold.