List of Illustrations ix Series Editor's Preface xv About the Editors xvii Notes on Contributors xix Editors' Acknowledgments xxvii Introduction: The Eurocentrism of Contemporary Art, Staging the Project 1Jane Chin Davidson and Amelia Jones Part I Decades 17 1980-1990 17 1 I Live in the Fourth Dimension When I Create Landscapes: Artist Statement 19Senga Nengudi 2 Seeing Beyond East/West Divides: Contemporary Art in and Around 1980s China 23Jenny Lin 1990-2000 35 3 Is There a Line that Connects All Things? Artist Statement 37Sutapa Biswas 4 Why Contemporary Art Is Post-Soviet 41Angela Harutyunyan 2000-2010 55 5 Art and Politics: Artist Statement 57Tania Bruguera 6 Maori and Pacific Art at the Turn of a New Millennium 61Nina Tonga and Caroline Vercoe 2010-2020 75 7 Art for Abolition: Artist Statement 77Patrisse Cullors 8 Situating African Diasporic Art 79Nana Adusei-Poku Part II Themes Institutions/Ontology 87 9 COLONIALISM "The Whole World in his Hands": A Decolonial Approach to European Concepts of Art 89Claire Farago 10 PEDAGOGY The Blank Canvas and Other Myths 105Al-An deSouza 11 CRAFT Craft and the Making of "Global" Contemporary Art 119Pamela N. Corey 12 PERFORMANCE Dreams and Visions in the Interval 133Mlondolozi Zondi 13 EMBODIMENT/MATERIALITY Love Songs (to End Hetero-Patriarchal, Settler-Colonial, Extractivism) 149Natalie Loveless Politics/Public Sphere 167 14 REVOLUTION Revolution is a Circle 169Tatiana Flores 15 ART AND ITS MARKETPLACES It Was a Small World, After All 183Suzanne Hudson 16 PUBLIC SPHERES The Politics of Public Space in Postrevolutionary Iran 199Talinn Grigor 17 (ANTI-)CAPITALISM The Imminent Promise and Fear of a Getaway Car 213Raqs Media Collective 18 ENVIRONMENT Envisioning a More Just Future: Feminist Activist Art, Climate Change, and the Anthropocene 227Lisa E. Bloom Identity/Subjectivity 239 19 INDIGENEITY Global Futurisms: Prophetic Practices of Reclamation, Liberation, and Transcendence 241Timotéo I. Montoya II 20 DIASPORA Transnational Collectivities of Solidarity and Affect 255Ceren Özpinar 21 GENDER/SEXUALITY Performing the Intersection: Camp and the "Cat Lady" 267Jane Chin Davidson 22 RACE/ETHNICITY Three Forms of Appropriation: Carrie Mae Weems, Glenn Ligon, and Nao Bustamante 281Jessi DiTillio and Cherise Smith 23 DISABILITY Disability Justice, Community, and Performance 295Shayda Kafai and Jennette Ramirez Methods/Theories 309 24 POSTCOLONIAL/DECOLONIAL Post-/Anti-/Neo-/De- Colonial Theories and Visual Analysis 311Alpesh Kantilal Patel 25 MARXISM/POST-MARXISM History, Marxism, Reality, and Utopia: The Bishan Project in China (2010-2016) 327Ou Ning 26 CRITICAL RACE THEORY "The Blast Work": Situating Critical Race Theory in Contemporary Art and Curatorial Practice 343Kelli Morgan in Dialogue with Amelia Jones 27 POSTSTRUCTURALISM/POSTMODERNISM/POSTCOLONIALISM Mapping Poststructuralism, Postmodernism, and Postcolonialism 359April Baca 28 GENDER/SEX THEORY Feminist/Queer/Trans Theory and Trans Embodied Methodologies in Contemporary Art: An Intergenerational Dialogue on the Page 377Ace Lehner and Amelia Jones 29 PERFORMANCE THEORY The "Studies Protocols" of Performance Studies 399Joshua Chambers-Letson Technology/Media 417 30 INTERNET "Bias Is Not a Bug. It's a Feature": An Interview with Hito Steyerl on Representation in the Digital Age 419Hito Steyerl and Anuradha Vikram 31 SOCIAL MEDIA Why Is It So Hard to Look the Other in the Eye? The Selfie and its Discontents 435Derek Murray 32 ALGORITHM Algorithms in Global Art and Visual Culture 451Gary Kafer and Tyler Quick Exhibition/Collecting/Archive 465 33 MUSEUM Time, Love, and the Museum 467Florencia San Martin 34 BIENNIAL/ART FAIR Biennial as a Discursive Political System for Contemporary Art 481Jane Chin Davidson 35 CURATING In Residence, Incarcerated Regina José Galindo's America's Family Prison 503Andy Campbell 36 COLLECTING The World Should Collect Itself: Collecting Art Globally (and Other Predicaments) 517Gerardo Mosquera 37 ARCHIVE Ghosts in the Archive: Exorcism, Resurrection and the Possibilities of Repair 529Hammad Nasar Index 541

WILEY BLACK WELL COMPANIONS TO ART HISTORY A Companion to Contemporary Art in a Global Framework A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as 'art' is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, focusing on the historical and cultural contexts surrounding efforts to globalize the art world and the visual arts in particular global and transnational frameworks. The final section addresses a wide range of key themes in contemporary art, such as the fundamental institutions and ontologies of art practice, and the interactions among art, politics, and the public sphere. A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.