List of Illustrations

FIGURE I.1 Map showing Vienna city plan with Museum of Natural History and Museum of Art, Vienna (Naturhistorisches Museum Wien, built 1872–1889, and Kunsthistorisches Museum Wien, built 1871–1891), facing across the Maria-Theresa Place; both museums hold the former Hapsburg collections of the Austro-Hungarian Empire. Maps Data: Google LLC.

FIGURE I.2 Leon Battisti Alberti’s grid as described in his 1435 treatise On Painting, as visualized by Robert Fludd in 1617. World History Archive / Alamy Stock Photo.

FIGURE 1.1 Senga Nengudi, R.S.V.P. Reverie A, 2011; nylon mesh and metal. World History Archive / Alamy Stock Photo. Huggins Family Collection, photograph by Amelia Jones. As displayed at Art + Practice, Los Angeles, 2018.

FIGURE 1.2 Senga Nengudi, Blossom, 2014, DETAIL; nylon mesh and metal. Courtesy of the artist, photograph by Amelia Jones. As displayed at Fisher Gallery, University of Southern California, Los Angeles, 2018.

FIGURE 2.1 Huang Yong Ping, The History of Chinese Painting and the History of Modern Western Art Washed in the Washing Machine for Two Minutes, 1987/1993. Courtesy of Huang Shen Yuan and Estate of Huang Yong Ping.

FIGURE 2.2 Xiao Lu firing a gun at her art installation Dialogue, at the China Avant-Garde art exhibition, 1989. Courtesy of artist and Wen Pulin, Archive of Chinese Avant-Garde Art.

FIGURE 3.1 Sutapa Biswas, Synapse II, 1987–1992. Hand-printed black and white photograph (two part work), 1120 × 1300 millimeters each. © Sutapa Biswas. All Rights Reserved, DACS 2022.

FIGURE 3.2 Sutapa Biswas, Lumen, 2021. Production Still. Colour C-Type print, 918 × 1350 millimeters. © Sutapa Biswas. All Rights Reserved, DACS 2022.

FIGURE 4.1 Evgeny Yufit, director, Daddy, Father Frost is Dead, 1991 (1 hour 13 minutes), film still. Courtesy of Timothy Yufit.

FIGURE 4.2 3rd Floor, Hail to the Union of Artists from the Netherworld: Official Art Has Died, 1988. Documentation of the happening. Courtesy of Arman Grigoryan.

FIGURE 4.3 Mher Azatyan, Untitled Photograph # 29 and “Free Text,” 2000–2014 (22.5 × 45 centimeters). Courtesy of Mher Azatyan.

FIGURE 5.1 Tania Bruguera and Anri Sala (2005) Cátedra Arte de Conducta (Behavior Art School), Havana, Cuba. July 15, 2017, 923 × 692 [SYMPOSIUM] BOOK CLUB. Courtesy of Tania Bruguera & Anri Sala.

FIGURE 6.1 Mahuika, 2001, Lisa Reihana (Ngā Puhi, Ngāti Hine, Ngāi Tūteaurum Ngāi Tūpoto), C-type print, 1190 × 1990 millimeters. Auckland Art Gallery, 2002/3/5 Image. Courtesy of the artist.

FIGURE 6.2 Greg Semu, The Battle of the Noble Savage. ©Musèe Quai Branly and Greg Semu. 2007.

FIGURE 7.1 Patrisse Cullors, Prayer to the Iyami For Allegories of Flight, The BroadYear: 2020. Image credit: Giovanni Solis.

FIGURE 8.1 Freestyle: The Studio Museum in Harlem, 2001, Exhibition Catalogue cover. Gallery Association of New York State.

FIGURE 9.1 Georgius Braun and Franz Hogenberg, Mexico and Cuzco, Civitates Orbis Terrarum, engraving and etching. Antwerp: G. Van den Rade, 1575. Courtesy of the John Carter Brown Library / CC BY 4.0.

FIGURE 9.2 Kent Monkman, Miss Chief: Justice of the Piece, performance, Friday, 4 February 2012, Smithsonian’s National Museum of The American Indian, Washington, D.C Miss Chief Eagle Testickle holds court in a performance introducing her new inclusive nation, the Nation of Miss Chief, where she deconstructs issues of blood quantum, race, and tribal enrollment. Photo Katherine Fogden, NMAI. See performance documentation via Vtape: TAPECODE 672.11 at https://www.kentmonkman.com, accessed on 14 June 2022.

FIGURE 10.1 Dewey Crumpler, Re-making Aesthetics Through Dis/Embodiment, 1999, acrylic and collage on canvas (12 × 12 inches). Courtesy of the artist and Cushion Works, San Francisco.

FIGURE 10.2 Dewey Crumpler, 20th Century Fountain, 2020, acrylic and collage on canvas (20 × 24 inches). Courtesy of the artist and Cushion Works, San Francisco.

FIGURE 11.1 Jakkai Siributr, 78, 2014, mobile room installation: steel, scaffolding, bamboo, textiles, kurta, threads, and brass-coil embroidery (350 × 350 × 350 centimeters, including wheels). Collection of MAIIAM Contemporary Art Museum. Smit Na Nakornpanom.

FIGURE 11.2 Jakkai Siributr, Blind Faith, 2019, military uniforms, amulets, glass beads, crochet. Courtesy of the artist. Chanupat Boonwong / Courtesy of Jakkai Siributr.

FIGURE 12.1 Ernest Cole, During Group Examination, the Nude Men are Herded Through a String of Doctors’ Offices, 1967. Photograph by Ernest Cole’s.

FIGURE 12.2 Medu Art Ensemble, Support the Cultural Boycott, 1982. Judy Ann Seidman/The Art Institute of Chicago/ART RESOURCE.

FIGURE 12.3 Paul Stopforth, Freedom Dancer, 1993. Courtesy of Paul Stopforth.

FIGURE 13.1 Peter Morin, Cultural Graffiti: A Tahltan NDN Declares War on the British Monarchy, Buckingham Palace, London England, 2013. Ashok Mathur.

FIGURE 13.2 Peter Morin and Jimmie Kilpatrick, Love Songs to End Colonization album cover, 2022. Ashok Mathur.

FIGURE 13.3 Peter Morin and Jimmie Kilpatrick, Love Songs to End Colonization; t-shirts available in exchange for participation in the performance action, 2022. T- shirt artwork by Veronica Wachter. Photo by Mika Abbott.

FIGURE 14.1 Fernando Leal, The Dancers of Chalma, 1922–1923. Encaustic (approximately 437 square feet (40.6 m²)). Antiguo Colegio de San Ildefonso (formerly Escuela Nacional Preparatoria), Universidad Nacional Autónoma de México, Mexico City. Fernando Leal Audirac.

FIGURE 14.2 Didier William, Nou poko rive, men y ap tann nou, 2018. Collage, acrylic, wood carving on panel (64 × 90 inches (162.6 × 228.6 centimeters)). Courtesy of Didier William.

FIGURE 15.1 Art Worker’s Coalition. Flier for protest at The Museum of Modern Art garden at 3:00, Sunday, March 30, 1969, 11 × 8 ½ inches (27.9 × 21.6 centimeters). Alfred H. Barr, Jr. Papers, I.A.536. Archives. Location: The Museum of Modern Art/New York, NY/USA. Digital Image © The Museum of Modern Art / Licensed by SCALA.

FIGURE 15.2 Javits Center, New York, 2021. Casey Kelbaugh / Courtesy of The Armory Show.

FIGURE 16.1 Martyrdom mural depicting a 12-year-old boy soldier facing Iraqi tanks while Ayatollah Khomeini is hovering above him. Sponsored by the Foundation of Martyrs, central Tehran, ca. 1988. Photo: author, 1993.

FIGURE 16.2 (Option A): Two memorials on the grounds of Behesht-e Zahra Cemetery commemorating the martyrdom of Iranians during the Iran–Iraq War, in Ray, southern Tehran, the late 1990s. Photo: author, 1997.

FIGURE 16.3 War tourists visiting the Shalamcheh Martyrs Memorial, west of Khoramshahr on the Iraqi border, near Basra. Sonia Sevilla/Wikimedia Commons.

FIGURE 17.1 Raqs Media Collective, The Capital of Accumulation, 2010. Diptych video still. NEW.

FIGURE 17.2 Raqs Media Collective, Strikes at Time, 2011. Production still. NEW.

FIGURE 18.1 Molly Crabapple, “We Can Be Whatever We Have the Courage to See” (2019), still from a painting from the collaborative animated film by Boekbinder and Batt, A Message from the Future with Alexandria Ocasio-Cortez, 2019. Boekbinder and Batt 2019 / with permission from Future with Alexandria Ocasio-Cortez.

FIGURE 18.2 Molly Crabapple, “Years of Repair” (2020), still from a painting from the collaborative animated film, Message from the Future II: The Years of Repair. Molly Crabapple.

FIGURE 18.3 Wit and Wisdom, “Heart Disease, Heart Attacks, Strokes,” 2021, still from a drawing from the collaborative animated film by Wit and Wisdom and the Global Climate and Health Alliance. Courtesy of Lisa Bloom.

FIGURE 19.1 Timotéo Montoya, T’a’jaazhee Doodaastsadah Da’didlo (Vulture Death Dance), 2021. This is a frame captured from a live multimedia concept performance titled Ancestraplex 15462. In this piece, the T’a’jaazhee Doodaastsadah Da’didlo is conducted to upload the memory:spirits of the recently deceased to the Ancestraplex, an indestructible repository of ancestral knowledge and wisdom only accessible by their decedents. This piece explores how technologies can be used to maintain epistemologies and generational knowledge, ensuring its safety from apocalypse or decay. Courtesy of Timoteo Montoya.

FIGURE 19.2 Cannupa Cannupa Hanska Luger—“Future Ancestral Technologies: We Survive You,” billboard, Mandan, ND, 2021. For Landback.art, in Collaboration with NDN Collective, INDÍGENA, For Freedoms. This billboard by Hanska Luger, an enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara, and Lakota), features images of his “Future Ancestral Technology” textile and regalia work which focuses on exploring methodologies of “future dreaming” through Indigenous Science Fiction works that seek to develop sustainable technologies. The text, “We Survive You,” highlights the survivance of Indigenous peoples beyond...