Abstract
The theory of gender developed by Judith Butler applied to the works of Sheila Press Bright Plastic Bodies reveals a differentiated interpretation of what our society can still call toy, but it should rather call artefact. An artifact as it is a witness of our civilization, but also object that challenges (in the althusserian sense of the term). The gendered toy informs us about the orientation that society gives to its subjects, social and sexual orientation. When we know that this orientation generates inequalities of wealth and heritage (s) (with multiple meanings that gave to this term), the analysis of the stakes put in place in the diffusion of these toys raises question.
