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Reviews for this book highlight its significant impact and groundbreaking approach to art criticism. Many readers praise its ability to challenge conventional ways of seeing art, democratizing appreciation by cutting through perceived academic mystification. The book is frequently lauded for its insightful analysis of the history and purpose of oil painting, examining how images convey meaning and manipulate perception. A particularly strong point is its exploration of how women are depicted in art, delving into themes of the male gaze, the distinction between nakedness and nudity, and societal expectations. Additionally, the critique of advertising's relationship to art, and its role in shaping desires and perceptions, is consistently found to be thought-provoking and surprisingly relevant decades after publication. Reviewers often commend its clear, accessible prose and innovative mix of textual and pictorial essays, making complex theoretical ideas digestible for a wide audience.

However, the book also draws considerable criticism, particularly regarding its physical presentation. Numerous reviewers express frustration with the small, often unreadable bold font and the poor-quality, black-and-white reproductions of images, which many feel undermine the book's visual arguments and its message of accessibility. Content-wise, some readers find the analysis overly simplistic, one-dimensional, or derivative of earlier thinkers, with certain arguments perceived as reductionist or flawed. Specific criticisms include generalizations about the female experience, perceived omissions of certain art historical contexts like 20th-century or non-Western art, and a discomfort with religious art. The book's strong Marxist interpretation of art and capitalism is sometimes viewed as dated or overly polemical, leading to a tone that some find smug or dismissive of artistic intent.

Despite these contrasting views, the book is widely considered an indispensable and thought-provoking work that remains highly relevant today, especially in its discussions of gender and advertising. It is celebrated for encouraging readers to question established interpretations of art and to consider its broader social, economic, and political implications. The book serves as an excellent introduction to critical theory and art analysis for those new to the subject. It is best suited for art lovers, students, and anyone interested in the intersection of art, gender studies, capitalism, and media, particularly those seeking a foundational text to challenge their perceptions of visual culture.