Most of you seem to have confused the purpose of feminist critical theory in art, though I'm not surprised because both 'feminist' and 'criticism' are terms that tend to have rather flexible definitions that the (predominantly tabloid) media and so on have a thing about twisting to bring about reactionary results amongst more mainstream groups.
With regards to surrealism, see my last post. Here's another example that I meant to add to it: Franz Kafka's The Metamorphosis, a classic story of the twentieth century, and one of my favourites. Okay, so the story isn't technically surrealist in regards to its form, though it often gets thrown into discussions on similar works due to its content, so that's what Im going for here. If you're not familiar with the story, it involves a male protagonist, Gregor, who wakes up one morning and discovers he's 'morphed' into a sort of 'vermin', which is usually made out to be a cockroach or something by readers (it's translated from German obviously). It's a story of anxiety - the most popular reading of it is that Gregor, because he's relied on by all levels of his family to provide food and shelter, has retreated into an innocent, yet ugly state that he's brought upon himself by failing to measure himself. As a result, he develops the same fears as a 'vermin' and incurs the wrath of his father, who has lost all love for his son.
However, this reading ignores part of the story, and that's when his sister cares for him by bringing him scraps when Gregor's parents are acting more in the way that his transformation has become an enormous burden upon them. A feminist enlightening reading could now be that Gregor expects his sister to easily adapt to the horrible distortion he's become, because that's the order of patriarchy - it's a very common argument when it comes to masochism in art like I mentioned above. A physical example of this in the story plays out when Gregor, as the 'vermin' begins to spew gunk all over his bedroom walls as a result of him climbing around them, making the setting more repulsive than ever, but his sister is still treated strong in the way that she returns to care for him. In fact, even Venus in Furs points this out in an intensely erotic format, that masochism has a hidden controller who may not be the one actually dishing out the punishment, due to the structure of things (I think the message of that story is quite possibly a bit out of date in regards to postmodernism and all, but that's unimportant here).
A more recent example offering the same sorts of feminist readings can be seen in Woody Allen's film Deconstructing Harry (which I've mentioned approximately 4,729,360 times recently). Though not a surrealist film, many references are made to writing fiction, art, as well as Kafka and his story. To summarise, Harry humourously exaggerates the personal tragedies of his family and friends for his fiction, and at the end he expects this to be easily dealt with by them despite the fact that the fact that the effects of his writing make things even worse. He asserts that he's doing it for his own suffering. Again, a feminist reading could be that he's actually being very narcissistic, and that his unfair assumptions spur right off of this. On another note, one character interprets one of Harry's stories in exactly the same way as my imaginary feminist above might intepret The Metamorphosis... and it's a man that does this! Maybe it's not so exclusive?
Anyway, my thoughts. I thought a lot of you were just making mistakes regarding what feminism actually does in art, so I thought I'd give it a bit more thought. It's non-traditional to use feminism in art criticism, but it's not radical in the way that it might be for social sciences and politics. I blame something else for the rest, but if you know me, you'll be able to sum it up.
Larry: Well, we both started out wanting to be Kafka, and he got a little closer than I did.
Harry: Yeah, I became the insect.