Miley Cyrus gazes out from behind a wall of glass, drops of dew festooning her features: her platinum bangs, her sculpted brows, her glossy, made-up lips. The foggy vision makes her look like a dream, inaccessible to mere fans.

The portrait was taken by Marilyn Minter , an artist whose photorealistic paintings center on glamour, fashion and femininity. Since the 1980s, Minters work has depicted both the allure of magazine-touted beauty and the grimy realities that lie beneath it. She captures polished toenails and muddy feet, glittery lips and slurping mouths.

Decades worth of her work is on display at The Brooklyn Museum starting Nov. 4 in an exhibition called Pretty/Dirty. There youll find portraits she took of her mother a glamorous addict who embodied the paradoxes that Minter has come to represent. Youll find videos of tongues brushing against some kind of goopy green product, commentary on consumption in all its forms.

But you wont find her most recent work the portrait she took of Cyrus looking misty and contemplative, taken for a project to help raise funds for Planned Parenthood .

[Miley] is one of the few celebrities to back Planned Parenthood. Most of them wont touch it, because they dont want this very small but vocal minority to troll them, Minter said. I dont care. You know, what are they going to do? Not buy my art? Artists are pretty fearless when it comes to that. But people can boycott a celebrity. They can make life uncomfortable.

Minters admiration for Cyrus is clear. Shes an activist. Shes an animal rights person. And these are all things I am, too, she said, adding that millennial feminists are totally aware of the importance of reproductive rights and sex-positivity.

The latter point is an important one for Minter, whose work wasnt embraced by feminists in the 80s. She was rejected by the art world as unserious, rejected by the fashion world as too grotesque, and rejected by feminists for her portrayal of pleasures that might be considered oppressive or unsavory.