The paper's general context is visual humor in ancient Greece but its main focus is on the way in which women from different backgrounds were portrayed and mocked by (mainly) male Athenian vase-painters between the sixth and fourth centuries BC. 1 The driving idea is that men tried to the best of their abilities to control women, and their fears are revealed in comic depictions. The artists were really artisans: they usually did not have patrons as they mass-produced their often well-designed utilitarian objects for the marketplace. Their production followed the rule of fashion and because these objects were ubiquitous in Athens, and showed every aspect of daily life and mythology, they offer us a popular vision of what troubled, fascinated, or amused most Athenians. In many respects, the main problem in studying women in classical Athens is that they have often been seen as an undifferentiated mass. The paintings on Greek vases open a different path to studying women in Athens. Their goal was to please their viewers in order to sell their pots. Whether the vases were produced by men or women is not as important as the identity of the final consumer or even the purchaser. One's productions do not always show what one believes in personally, but what one wants to sell. This is why on the one hand I am particularly interested in the revealing nature of humor, the fact that humor brings out what is hidden in conventional discourse and on A. Foka et al. (eds.), Laughter, Humor, and the (Un)Making of Gender