Sarah W. Mallory is the Annette and Oscar de la Renta assistant curator of drawings and prints at The Morgan Library & Museum. She previously held positions at The Metropolitan Museum of Art, The Frick Collection, and Harvard Art Museums. She is completing her PhD in the history of art and architecture at Harvard University, where she focuses on seventeenth-century Dutch and Flemish art, environmental histories, and colonial legacies.Joanna Sheers Seidenstein is assistant curator in the Department of Drawings and Prints at The Metropolitan Museum of Art. She earned her PhD at the Institute of Fine Arts of New York University in 2018 and held the Stanley H. Durwood Foundation Curatorial Fellowship at the Harvard Art Museums from 2018 to 2022. Previous projects include Divine Encounter: Rembrandt’s Abraham and the Angels at The Frick Collection (2017) and Crossroads: Drawing the Dutch Landscape at the Harvard Art Museums (2022).Rachel Burke is a PhD candidate in art history at Harvard University studying Henry “Box” Brown, who created a moving panorama following his escape from slavery in 1849. Her dissertation examines Brown’s use of popular nineteenth-century landscapes, tracing how antebellum representations of the American environment reinforced programs of white supremacy.Kéla Jackson is a doctoral candidate in the Department of the History of Art and Architecture at Harvard University. Working at the intersection of art history, visual culture, and Black studies, her dissertation focuses on ruptural aesthetics—collage, constructed photography, and quilting—in contemporary visions of Black girlhood. Her writing has been published in Boston Art Review, Panorama Journal of American Art, as well as various exhibition catalogs including The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework.

• List of Illustrations and TablesNotes on ContributorsIntroduction: Art Museums and the Legacies of the Dutch Atlantic Slave TradeSarah W. Mallory, Joanna Sheers Seidenstein, Rachel Burke and Kéla JacksonPart 1: In and beyond the Museum: Recent and Ongoing Undertakings in the Netherlands, South Africa, and the United States1 New Curatorial Practices? Representation, Continuation, and Change in Slavery ExhibitionsAnthony Bogues2 Here: Black in Rembrandt’s Time and Slavery: Two Exhibitions about Invisible HistoriesMaria Holtrop, Stephanie Archangel and Eveline Sint Nicolaas3 Widening Circles: Collective Processing of Colonial Inheritances in Under Cover of DarknessCarine Zaayman4 A Litany for HomegoingToni Giselle Stuart5 New Narratives at the Amsterdam Museum: Curating Natasja Kensmil among Dutch MastersImara Limon6 The Elephant in the Room: Some Afterthoughts on the Golden Coach Exhibition at the Amsterdam MuseumMargriet Schavemaker7 Implicating the Dutch Metropole: Visualizing the History of Slavery in the NetherlandsNancy Jouwe8 Debates about the Future National Museum of Slavery in the Netherlands: Attending to the Dutch Transatlantic and Indian Ocean Slave TradesPepijn Brandon9 Past Made Present: Dutch Shadows in the Black Atlantic—the Making of an Exhibition at the RISD MuseumJane’a Johnson10 Slavery at Home and Overseas: Lessons from New England and the NetherlandsJustin M. Brown11 Recovering Identity, Crowdsourcing Knowledge: Julien Hudson’s Portrait of a Young Woman in WhiteNatalia Ángeles Vieyra12 Breaking Silence: Inclusivity in Dutch and Flemish ArtJacquelyn N. Coutré, Adam Eaker, Michele L. Frederick, Alexandra Libby, Jessie Park and Diva Zumaya13 Imagining Otherwise, an Ongoing ProposalLa Tanya S. AutryTouchstones14 Reggie Black, No Records, 2020Meredith S. Horsford15 Smuggle Gold and Cyclonic Hair: Transformative Power in the Work of Romauld HazoumèKymberly S. Newberry16 Titus Kaphar’s Shifting the GazeJoanna Sheers Seidenstein17 Black Pete and SlaveryJoanna Sheers Seidenstein18 Balthasar van den Bossche, A Painter’s Studio: the Kunstkammer and the Spectacle of SlaverySarah W. MalloryPart 2: New Research in the Visual and Material Legacies of the Dutch Slave Trade19 Slavery and Still Life: the Historical and Ongoing Capitalist Legacies of Pronk Still Life HistoriographyDiva Zumaya20 Creating the Visual Memory of Slavery in Dutch Brazil: Frans Post and Albert Eckhout ExhibitedCarolina Monteiro and Mariana Françozo21 The Plantation Worldscape of Colonial Dutch BrazilAngela Vanhaelen22 Spaces of Enslavement: Indigenous Resistance and Colonial CartographyCarolyn Arena23 Textiles and Trade in the Dutch Atlantic World: Albert Eckhout’s African Man and African Woman and ChildCarrie Anderson, with contributions from Marsely Kehoe24 From Cartography to Marine Art: Ships, Seafaring, and Depictions of the Seventeenth-Century Dutch Atlantic Slave TradeAndrea C. Mosterman25 Ebony & Old Masters: Blackness and Representation in the Dutch RepublicClaudia SwanTouchstones26 Caspar Barlaeus’s Rerum per octennium in Brasilia (1647)Elizabeth Sutton27 Jacob Marrel, Four Tulips, ca. 1637–45Rachel Burke28 Maria Sibylla Merian in SurinameOlivia Dill29 A Surinamese Calabash BowlJustin M. Brown30 Andrés Sánchez Gallque, Portrait of Don Francisco de Arobe and His Sons Don Pedro and Don Domingo, 1599Linda Mueller31 A Silver SpoonCynthia Kok32 Pinturas de CastasLouisa Raitt33 Beyond Sugar: Art History, Textiles, and Archival Accountability in a Digital WorldCarrie Anderson and Marsely KehoePart 3: Contemporary Practitioners34 Monuments Made Flesh: Sojourner Truth and Nona Faustine on Performance and PlaceKéla Jackson35 Crossing the Water: an Artist’s ViewRemy Jungerman36 History, Memory, and Legacy: Jamaica Kincaid, Rosana Paulino, and Cheryl Finley in ConversationCondensed and edited by Kéla Jackson37 Selected PoemsAriana Benson38 SlavepoolEugene Lange39 What Is a Legacy?Sarah W. MalloryBibliographyIndex

Sarah W. Mallory is the Annette and Oscar de la Renta assistant curator of drawings and prints at The Morgan Library & Museum. She previously held positions at The Metropolitan Museum of Art, The Frick Collection, and Harvard Art Museums. She is completing her PhD in the history of art and architecture at Harvard University, where she focuses on seventeenth-century Dutch and Flemish art, environmental histories, and colonial legacies.Joanna Sheers Seidenstein is assistant curator in the Department of Drawings and Prints at The Metropolitan Museum of Art. She earned her PhD at the Institute of Fine Arts of New York University in 2018 and held the Stanley H. Durwood Foundation Curatorial Fellowship at the Harvard Art Museums from 2018 to 2022. Previous projects include Divine Encounter: Rembrandt’s Abraham and the Angels at The Frick Collection (2017) and Crossroads: Drawing the Dutch Landscape at the Harvard Art Museums (2022).Rachel Burke is a PhD candidate in art history at Harvard University studying Henry “Box” Brown, who created a moving panorama following his escape from slavery in 1849. Her dissertation examines Brown’s use of popular nineteenth-century landscapes, tracing how antebellum representations of the American environment reinforced programs of white supremacy.Kéla Jackson is a doctoral candidate in the Department of the History of Art and Architecture at Harvard University. Working at the intersection of art history, visual culture, and Black studies, her dissertation focuses on ruptural aesthetics—collage, constructed photography, and quilting—in contemporary visions of Black girlhood. Her writing has been published in Boston Art Review, Panorama Journal of American Art, as well as various exhibition catalogs including The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework.

• List of Illustrations and TablesNotes on ContributorsIntroduction: Art Museums and the Legacies of the Dutch Atlantic Slave TradeSarah W. Mallory, Joanna Sheers Seidenstein, Rachel Burke and Kéla JacksonPart 1: In and beyond the Museum: Recent and Ongoing Undertakings in the Netherlands, South Africa, and the United States1 New Curatorial Practices? Representation, Continuation, and Change in Slavery ExhibitionsAnthony Bogues2 Here: Black in Rembrandt’s Time and Slavery: Two Exhibitions about Invisible HistoriesMaria Holtrop, Stephanie Archangel and Eveline Sint Nicolaas3 Widening Circles: Collective Processing of Colonial Inheritances in Under Cover of DarknessCarine Zaayman4 A Litany for HomegoingToni Giselle Stuart5 New Narratives at the Amsterdam Museum: Curating Natasja Kensmil among Dutch MastersImara Limon6 The Elephant in the Room: Some Afterthoughts on the Golden Coach Exhibition at the Amsterdam MuseumMargriet Schavemaker7 Implicating the Dutch Metropole: Visualizing the History of Slavery in the NetherlandsNancy Jouwe8 Debates about the Future National Museum of Slavery in the Netherlands: Attending to the Dutch Transatlantic and Indian Ocean Slave TradesPepijn Brandon9 Past Made Present: Dutch Shadows in the Black Atlantic—the Making of an Exhibition at the RISD MuseumJane’a Johnson10 Slavery at Home and Overseas: Lessons from New England and the NetherlandsJustin M. Brown11 Recovering Identity, Crowdsourcing Knowledge: Julien Hudson’s Portrait of a Young Woman in WhiteNatalia Ángeles Vieyra12 Breaking Silence: Inclusivity in Dutch and Flemish ArtJacquelyn N. Coutré, Adam Eaker, Michele L. Frederick, Alexandra Libby, Jessie Park and Diva Zumaya13 Imagining Otherwise, an Ongoing ProposalLa Tanya S. AutryTouchstones14 Reggie Black, No Records, 2020Meredith S. Horsford15 Smuggle Gold and Cyclonic Hair: Transformative Power in the Work of Romauld HazoumèKymberly S. Newberry16 Titus Kaphar’s Shifting the GazeJoanna Sheers Seidenstein17 Black Pete and SlaveryJoanna Sheers Seidenstein18 Balthasar van den Bossche, A Painter’s Studio: the Kunstkammer and the Spectacle of SlaverySarah W. MalloryPart 2: New Research in the Visual and Material Legacies of the Dutch Slave Trade19 Slavery and Still Life: the Historical and Ongoing Capitalist Legacies of Pronk Still Life HistoriographyDiva Zumaya20 Creating the Visual Memory of Slavery in Dutch Brazil: Frans Post and Albert Eckhout ExhibitedCarolina Monteiro and Mariana Françozo21 The Plantation Worldscape of Colonial Dutch BrazilAngela Vanhaelen22 Spaces of Enslavement: Indigenous Resistance and Colonial CartographyCarolyn Arena23 Textiles and Trade in the Dutch Atlantic World: Albert Eckhout’s African Man and African Woman and ChildCarrie Anderson, with contributions from Marsely Kehoe24 From Cartography to Marine Art: Ships, Seafaring, and Depictions of the Seventeenth-Century Dutch Atlantic Slave TradeAndrea C. Mosterman25 Ebony & Old Masters: Blackness and Representation in the Dutch RepublicClaudia SwanTouchstones26 Caspar Barlaeus’s Rerum per octennium in Brasilia (1647)Elizabeth Sutton27 Jacob Marrel, Four Tulips, ca. 1637–45Rachel Burke28 Maria Sibylla Merian in SurinameOlivia Dill29 A Surinamese Calabash BowlJustin M. Brown30 Andrés Sánchez Gallque, Portrait of Don Francisco de Arobe and His Sons Don Pedro and Don Domingo, 1599Linda Mueller31 A Silver SpoonCynthia Kok32 Pinturas de CastasLouisa Raitt33 Beyond Sugar: Art History, Textiles, and Archival Accountability in a Digital WorldCarrie Anderson and Marsely KehoePart 3: Contemporary Practitioners34 Monuments Made Flesh: Sojourner Truth and Nona Faustine on Performance and PlaceKéla Jackson35 Crossing the Water: an Artist’s ViewRemy Jungerman36 History, Memory, and Legacy: Jamaica Kincaid, Rosana Paulino, and Cheryl Finley in ConversationCondensed and edited by Kéla Jackson37 Selected PoemsAriana Benson38 SlavepoolEugene Lange39 What Is a Legacy?Sarah W. MalloryBibliographyIndex

Sarah W. Mallory is the Annette and Oscar de la Renta assistant curator of drawings and prints at The Morgan Library & Museum. She previously held positions at The Metropolitan Museum of Art, The Frick Collection, and Harvard Art Museums. She is completing her PhD in the history of art and architecture at Harvard University, where she focuses on seventeenth-century Dutch and Flemish art, environmental histories, and colonial legacies.Joanna Sheers Seidenstein is assistant curator in the Department of Drawings and Prints at The Metropolitan Museum of Art. She earned her PhD at the Institute of Fine Arts of New York University in 2018 and held the Stanley H. Durwood Foundation Curatorial Fellowship at the Harvard Art Museums from 2018 to 2022. Previous projects include Divine Encounter: Rembrandt’s Abraham and the Angels at The Frick Collection (2017) and Crossroads: Drawing the Dutch Landscape at the Harvard Art Museums (2022).Rachel Burke is a PhD candidate in art history at Harvard University studying Henry “Box” Brown, who created a moving panorama following his escape from slavery in 1849. Her dissertation examines Brown’s use of popular nineteenth-century landscapes, tracing how antebellum representations of the American environment reinforced programs of white supremacy.Kéla Jackson is a doctoral candidate in the Department of the History of Art and Architecture at Harvard University. Working at the intersection of art history, visual culture, and Black studies, her dissertation focuses on ruptural aesthetics—collage, constructed photography, and quilting—in contemporary visions of Black girlhood. Her writing has been published in Boston Art Review, Panorama Journal of American Art, as well as various exhibition catalogs including The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework.

• List of Illustrations and TablesNotes on ContributorsIntroduction: Art Museums and the Legacies of the Dutch Atlantic Slave TradeSarah W. Mallory, Joanna Sheers Seidenstein, Rachel Burke and Kéla JacksonPart 1: In and beyond the Museum: Recent and Ongoing Undertakings in the Netherlands, South Africa, and the United States1 New Curatorial Practices? Representation, Continuation, and Change in Slavery ExhibitionsAnthony Bogues2 Here: Black in Rembrandt’s Time and Slavery: Two Exhibitions about Invisible HistoriesMaria Holtrop, Stephanie Archangel and Eveline Sint Nicolaas3 Widening Circles: Collective Processing of Colonial Inheritances in Under Cover of DarknessCarine Zaayman4 A Litany for HomegoingToni Giselle Stuart5 New Narratives at the Amsterdam Museum: Curating Natasja Kensmil among Dutch MastersImara Limon6 The Elephant in the Room: Some Afterthoughts on the Golden Coach Exhibition at the Amsterdam MuseumMargriet Schavemaker7 Implicating the Dutch Metropole: Visualizing the History of Slavery in the NetherlandsNancy Jouwe8 Debates about the Future National Museum of Slavery in the Netherlands: Attending to the Dutch Transatlantic and Indian Ocean Slave TradesPepijn Brandon9 Past Made Present: Dutch Shadows in the Black Atlantic—the Making of an Exhibition at the RISD MuseumJane’a Johnson10 Slavery at Home and Overseas: Lessons from New England and the NetherlandsJustin M. Brown11 Recovering Identity, Crowdsourcing Knowledge: Julien Hudson’s Portrait of a Young Woman in WhiteNatalia Ángeles Vieyra12 Breaking Silence: Inclusivity in Dutch and Flemish ArtJacquelyn N. Coutré, Adam Eaker, Michele L. Frederick, Alexandra Libby, Jessie Park and Diva Zumaya13 Imagining Otherwise, an Ongoing ProposalLa Tanya S. AutryTouchstones14 Reggie Black, No Records, 2020Meredith S. Horsford15 Smuggle Gold and Cyclonic Hair: Transformative Power in the Work of Romauld HazoumèKymberly S. Newberry16 Titus Kaphar’s Shifting the GazeJoanna Sheers Seidenstein17 Black Pete and SlaveryJoanna Sheers Seidenstein18 Balthasar van den Bossche, A Painter’s Studio: the Kunstkammer and the Spectacle of SlaverySarah W. MalloryPart 2: New Research in the Visual and Material Legacies of the Dutch Slave Trade19 Slavery and Still Life: the Historical and Ongoing Capitalist Legacies of Pronk Still Life HistoriographyDiva Zumaya20 Creating the Visual Memory of Slavery in Dutch Brazil: Frans Post and Albert Eckhout ExhibitedCarolina Monteiro and Mariana Françozo21 The Plantation Worldscape of Colonial Dutch BrazilAngela Vanhaelen22 Spaces of Enslavement: Indigenous Resistance and Colonial CartographyCarolyn Arena23 Textiles and Trade in the Dutch Atlantic World: Albert Eckhout’s African Man and African Woman and ChildCarrie Anderson, with contributions from Marsely Kehoe24 From Cartography to Marine Art: Ships, Seafaring, and Depictions of the Seventeenth-Century Dutch Atlantic Slave TradeAndrea C. Mosterman25 Ebony & Old Masters: Blackness and Representation in the Dutch RepublicClaudia SwanTouchstones26 Caspar Barlaeus’s Rerum per octennium in Brasilia (1647)Elizabeth Sutton27 Jacob Marrel, Four Tulips, ca. 1637–45Rachel Burke28 Maria Sibylla Merian in SurinameOlivia Dill29 A Surinamese Calabash BowlJustin M. Brown30 Andrés Sánchez Gallque, Portrait of Don Francisco de Arobe and His Sons Don Pedro and Don Domingo, 1599Linda Mueller31 A Silver SpoonCynthia Kok32 Pinturas de CastasLouisa Raitt33 Beyond Sugar: Art History, Textiles, and Archival Accountability in a Digital WorldCarrie Anderson and Marsely KehoePart 3: Contemporary Practitioners34 Monuments Made Flesh: Sojourner Truth and Nona Faustine on Performance and PlaceKéla Jackson35 Crossing the Water: an Artist’s ViewRemy Jungerman36 History, Memory, and Legacy: Jamaica Kincaid, Rosana Paulino, and Cheryl Finley in ConversationCondensed and edited by Kéla Jackson37 Selected PoemsAriana Benson38 SlavepoolEugene Lange39 What Is a Legacy?Sarah W. MalloryBibliographyIndex