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This study aims to describe the expansive curricular landscape in art education that has often been depicted by the gap between theory-oriented curricular resources produced in higher education versus practice-oriented resources created and used in K-12 teaching. To provide a curricular overview, 162 K-12 art educators and 22 higher education researchers were surveyed, and 10 individuals from various school levels were interviewed. The quantitative and qualitative research findings illuminate the current status of the curricular divide between the K-12 level and higher education, as exemplified by K-16 art educators' ways to determine the quality of curricular resources, popular types and topics of curricular resources that they produce and use, and ways to improve the K-16 connection. Even so, this study highlights plausible actions, beyond changes in curricular resources, shared by art educators and preservice teacher educators that may help improve the possibly disconnected status quo.

The histories between African American and Asian American communities have been both fraught with tension and interwoven with solidarities, as seen in the recent Black Lives Matter (BLM) protests in 2020, anti-Asian attacks, and the Stop Asian Hate movement. Afro--Asian tension is a symptom of systemic White supremacy, which constructs hierarchies and disparate manifestations of marginalization (Adams et al., 2016; Kraehe & Acuff, 2013). Although differently racialized, we form a cross-racial collaboration based on shared, intersectional, and intergenerationally inherited trauma and strength. Intersectionality as a concept guided our narrative construction and art practice, which may posit the possibility of BIPOC alliances in art education. In this article, we define allyship as an understanding of each other's minoritized experiences and an active support for the rights of said groups. We believe that forming allyships may lead to conceptualizing chains of action that could promote the rights of BIPOC as a whole.