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The pages of this book are part of a long-standing tradition of conscientious iconoclasm, in which altering or damaging a picture or object constitutes a considered form of political protest, while they also provoke further reflection upon questions about the ethics of viewing or showing scenes of pain and suffering.

If I looked closely and recognized my own cultural biases, as Jules Prown wisely recommends, could I understand how [Henry] Tuckerman’s experience shaped a response that was so different from mine?

This account of Naquayouma’s role as a collaborator in 1937 is also an account of our own collaboration as researchers: with each other, with other scholars, and with the Hopi community, which is at its center.

This framework, whose orientation is temporal as much as it is spatial, charts the plantation as a point of origin and acceleration for our current ecological crisis and traces its unequal impact on marginalized populations worldwide.

Fundamental to each [of these contributions] is decentering what we define as normal—both as an act of resistance to the ideology of normalcy but also, ultimately, as a way to prioritize principles centered on disability justice that privilege the generative and sustaining knowledge of queer, crip, BIPOC folks.

“The local” represents a potential alternative to both nationalist and global models of art history through geographic specificity. We frame this concept as a place, a source of knowledge, and a set of methodologies and relationships that together articulate the contours of a growing set of concerns for scholars of American art.

Far from a symbol of restrictive, retrograde femininity (or essentialist fertility), the sunflower and its bearer are beacons of Cassatt’s fervent feminism, a latent symbolism that emerges when the painting is considered within the context of the American suffrage movement.

While material constraints and violence always mitigated Black freedom of expression under slavery, our research establishes the context in which a Black maker of Flora’s profile is not only possible but plausible.