Objects/Histories – serie

Culture in the Marketplace

Gender, Art, and Value in the American Southwest

Orientalism's Interlocutors

Painting, Architecture, Photography

Photography's Other Histories

In Senghor's Shadow

Art, Politics, and the Avant-Garde in Senegal, 1960–1995

Eye Contact

Photographing Indigenous Australians

Eye for the Tropics

Tourism, Photography, and Framing the Caribbean Picturesque

Native Moderns

American Indian Painting, 1940-1960

Chicana Art

The Politics of Spiritual and Aesthetic Altarities

Gods in the Bazaar

The Economies of Indian Calendar Art

Intimate Outsiders

The Harem in Ottoman and Orientalist Art and Travel Literature

Intimate Outsiders

The Harem in Ottoman and Orientalist Art and Travel Literature

Unsettled Visions

Contemporary Asian American Artists and the Social Imaginary

Photographies East

The Camera and Its Histories in East and Southeast Asia

Art for a Modern India, 1947-1980

Art for a Modern India, 1947-1980

Indian Craze

Primitivism, Modernism, and Transculturation in American Art, 1890–1915

Indian Craze

Primitivism, Modernism, and Transculturation in American Art, 1890–1915

Refracted Visions

Popular Photography and National Modernity in Java

Refracted Visions

Popular Photography and National Modernity in Java

Camera As Historian

Amateur Photographers and Historical Imagination, 1885-1918

Camera As Historian

Amateur Photographers and Historical Imagination, 1885-1918

From a Nation Torn

Decolonizing Art and Representation in France, 1945-1962

From a Nation Torn

Decolonizing Art and Representation in France, 1945-1962

Treasured Possessions

Indigenous Interventions Into Cultural and Intellectual Property

Treasured Possessions

Indigenous Interventions Into Cultural and Intellectual Property

Empires of Vision

A Reader

Empires of Vision

A Reader

Mimesis Across Empires

Artworks and Networks in India, 1765-1860

Echo of Things

The Lives of Photographs in the Solomon Islands