It is, rather, a means to her artistic ends” (120). Sherman makes use of tripods and assorted paraphernalia in order to act as her own model, but clearly rates content above technique, as it is extremely difficult to find any information about her particular camera and printing methods. Her earlier works are mostly in black and white and are printed on film (Dorfman); later photographs are in color, but information on her printing techniques are unavailable. Most of Sherman's images, from her beginnings in 1979 up until the present day, are untitled but given a number. This emphasizes that her works gain meaning “when seen as part of a project” (Danto, 121). Sherman's career can therefore be seen as a single entity, a commentary on society which has evolved as the artist behind them has developed. She is an important photographer in the modern era because she has revolutionized the self-portrait as a non-narcissistic means of expression. Danto suggests that her “face must by now [in 1985] be the second most widely known face in the art world” (120), even though her intentions are not to self-publicize.