Theresa Bernsteins paintings, Suffrage Meeting (1914), Suffrage Parade (1915), In the Elevated (1916), The Waiting RoomEmployment Office (1917), and The Milliners (1919), expose a new type of looking rarely explored by American artists in the early twentieth century. She revealed a variety of New York City women, including suffragettes, working women, immigrants, and the working-class, in a more empathetic manner. Bernsteins innovation is heightened by her association with the Ashcan Schoola male dominated art group that painted in a manner that was viewed as masculine. Bernstein might have painted like a man, but her works reflected her unique viewpoint as a woman. By investigating Bernsteins early subject matter of women in terms of the political, social, and aesthetic movements of the time, I will demonstrate that she contributed to a significant shift in the representation of women in early twentieth-century American art, a shift from object to subject.