In the English language, we subconsciously place our words in a particular order; articles follow adjectives, with nouns close behind. Perhaps in an example of life imitating art, we order our intersectionality in a manner that mirrors the structure of the English language.
On one hand, the overuse of the female body as an object of spectacle objectifies, sexualises, and reinforces dangerous notions of female passivity. On the other, the raw, undeniable beauty of the female form ought to be celebrated, and makes for some breathtaking art. Is it, then, simply too lovely to censor?