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With similar political views and shared interests in the visual arts, dance, and music, these artists found commonality and took inspiration from one another's aesthetic and social concerns.

By pictorially aligning the ruins of Chicago with those of the ancient civilizations of Europe, especially, these representations offered the potential for the recent past to be reframed as storied history.

Wyeth explored the relationship between avian and human vision, revealing the multisensorial abilities of the bird, the limits of human vision, and ultimately the paradoxes of camouflage during World War II.

“Toward a More Inclusive Digital Art History,” a joint project funded through a generous grant by the Terra Foundation for American Art and administered by Panorama, has made it possible to guide a pioneering generation of art historians through workshops, one-on-one meetings, and technical guidance. Here we offer updates from project participants Theresa Avila, Carolin Görgen, Mary Okin and Celie Mitchard, and Helena Shaskevich and Lia Robinson.

This data-driven analysis unearths monuments that have received little attention, reveals an evolving narrative of the public commemoration of women, and demonstrates how the methods of the digital humanities can enhance the study of art.

Newly surfaced documents . . . serve to elucidate our understanding of Oller’s artistic endeavors as he navigated the political waters of the US imperialist regime.

One way to reassert the significance of women artists is to recognize their teaching as a unique form of labor and institution building that works outside of, and in subversion to, the museum-gallery system.

Through reflections on artworks and makers from the eighteenth, nineteenth, and twentieth centuries, the authors assembled here demonstrate that in America—broadly defined—we are still living in a colonial moment.