This essay argues that Edward Albee’s Three Tall Women dismantles the gendered epistemology that underwrites realist mimesis. Act One reveals how realist form produces exhaustive visibility while withholding epistemic authority, as A’s memories, pain, and speech circulate only as material to be interpreted, corrected, or stabilized by others. Act Two fractures this regime by splitting A into simultaneous temporal figures, severing the realist alignment between body, subject, and linear interiority. With the disappearance of the mannequin-body, the play moves beyond interpretive frameworks oriented toward reconciliation or moral reckoning, exposing coherence itself as a regulatory demand rather than a narrative achievement. Instead, this play insists that the woman at its center can appear only when the mimetic structures designed to represent her collapse. Albee’s late theatre thus uses formal rupture to make visible the limits of realism’s gendered grammar and the epistemic violence it sustains.