This thesis analyzes contemporary photographer Jeff Wall and his representations of cultural memory and domesticity. Wall both references and mimics historically and culturally significant symbols of canonical painting to comment on the role of art incontemporary society. In the coming chapters, this thesis places two of Wall’s photographs in conversation with paintings by Édouard Manet, Tintoretto, and Willem deKooning to examine how Wall deploys representation of domestic spaces to comment on the entwinement of female bodies, sexuality, and economic exchange. Wall’s photographs addressed in this thesis construct complex visual narratives that reflect upon the challenges to representational norms and conventions that were carried out by Manet, and deKooning in their own historical moments. Rather than offering a chronological account of Jeff Wall’s artistic trajectory, the thesis examines Wall’s critique of ingrained societal perceptions of women and the experience of womanhood itself through case studies of A View From an Apartment and The Destroyed Room and relevant paintings by Manet, Tintoretto, and deKooning. This thesis analyzes these photographs and paintings in their respective historical and cultural contexts to emphasize the parallels that Wall draws between violence and ideas of women as capital.