SECTION I: INTRODUCTION SECTION II: BEING AND DOING 1. Writing Art History in the Age of Black Lives Matter 2. Being an Indigenous Art Historian in the 21st Century: How can M¿ori Adornment Reveal New Ways of Thinking about Art, its Histories, and Futures 3. Reinvention at the Wheel: Shaping New Histories in the Decolonization of Disability 4.The Power of Absence: An Interview with Ken Gonzales-Day 5.Art in Paradise Found and Lost 6.The Maquette -Modèles of Bodys Isek Kingelez: Envisioning Decolonial Monuments 7. Decolonizing La Revolución: Cuban Artistic Practice in a Liminal Space 8. Museums are Temples of Whiteness 9. Stepping out of the Shadow of Imperial Monochrony: A Place-centric Approach to Decolonizing Japanese Art History 10. On Failure and the Nation State: A Decolonial Reading of Alfredo Jaar's A Logo for America 11. Light as a Feather: The Anti-capitalist Radiance of Decolonial Art History SECTION III: LEARNING AND LISTENING 12. Where's Decolonization? The Ohketeau Cultural Center, Indigenous Sovereignty, and Arts Institutions 13. Overcoming Art History's Meta-Narrative 14. Pathways to Art History: Pedagogy, Research, and Praxis through a Decolonial Lens 15. Pedagogies of Place: Listening and Learning in the Margins 16. The Unbearable Lightness of Adjuncting Art History 17. Decolonial Cinematic Flows: Histories, Movements, Confluences 18. Re-Indigenizing Ancient Mexican Glyphic Codices 19. (Not) Performing Pasifika Indigeneity: Destabilizing the Researcher as Decolonizing Method in Art History 20. Afterlives/Futurelives: Imagining Mermaids and recalling Ghost Dancing 21. Decolonizing California Mission Art and Architecture Studies 22.SECTION IV: SENSING AND SEEING 23. Spooky Art History (or, Whatever Happened to the Postcolonial?) 24. Spatial Abstraction as a Colonizing Tool 25. Dishumanizing Art History? 26.The Digital Voice as Postcolonial Proxy 27. Reflecting on Whiteness in Recent Contemporary Artwork Exploring Transnational Poland 28. Racialization, Creolization, and Minor Transnationalism: Black and Indigenous Exchange in Spanish Colonial Visual Culture 29. The Imperial Landscape of 18th-Century Anglo-Indian Portraiture 30. Unseeing Art History: Inca Material Culture 31. Debility and the Ethics of Proximity: Spatial and Temporal Immediacy in the Work of Candice Lin 32. Decolonizing Crocodiles, Repatriating Birds:Human-Animal Relations in the Historical Indian Landscape 33. "We are so many bodies, my friends": Countervisibility as Resurgent Tactics SECTION V: LIVING AND LOVING 34. "she carried with her...a large bundle of wearing apparel belonging to herself": Slave Dress as Resistance in Portraiture and Fugitive Slave Advertisements 3 5. Rina Banerjee's Decolonial Ecologies 36.The Teaching is in the Making: A Relational and Embodied Experience of Anishinaabe Photographs 37. Reflections on a Latinx Decolonial Praxis for Medievalists 38. The Waters Surrounding Wallmapu, the Waters Surrounding Life 39. Dialogical Episodes for Decolonizing (Art) History 40. Inner Spaces: The Depth Imagination 41. Maria Auxiliadora da Silva: Nossa Mãe Maria of Terreiro Life and Faith on Black Grounds 42. Michael Richards: Performance as Ritual and Black-Indigenous Haptic Visuality 43. Bittersweet Histories and Tarnished Gold: Slavery's Sounds, Sights and Silences in the Legacy of Dutch Brazil 44. A Personal Take, or Stuck in the Middle/Side and Going Nowhere: An Attempt at Imagining a Methodology for Engaging Colonial Photographic Archives, Histories, and Subjectivities SECTION VI: AFTERWORD 45. Towards a Combative Decolonial Aesthetics
