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| Aesthetic Systems: Knowledge, Beauty, and Power | |
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| Accumulation: Power and Display in African Sculpture | |
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| An Aesthetic of the Cool | |
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| Melody, Drone, and Decoration: Underlying Structures and Surface Manifestations in Tongan Art and Society | |
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| The Beautiful and the Dangerous: Zuni Ritual and Cosmology as an Aesthetic System | |
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| The Artist as Individual | |
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| The Buli Master, and Other Hands | |
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| Talania and Nake, Master Carver and Apprentice: Two Woodcarvers from the Kilenge | |
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| Will the Real Charles Edensaw Please Stand Up?: The Problem of Attribution in Northwest Coast Indian Art | |
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| Art and Social Structure | |
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| Mask Makers and Myth in Western Liberia | |
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| Kuba Embroidered Cloth | |
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| Humans and Animals in Benin Art | |
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| Kinshape: The Design of Hawaiian Feather Cloak | |
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| The Weight of My Name Is a Mountain of Blankets: Potlatch Ceremonies | |
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| PASSAGES: Arts of Festival, Ritual, and Initiation | |
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| The Art of Festival in Ghana | |
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| Woman Power and Art in Senufo Village | |
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| Masking in Mende Sande Society Initiation Rituals | |
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| On Representing Ancestral Beings | |
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| Form, Function, and Interpretation of Mimbres Ceramic Hemispheric Vessels | |
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| Shelter as Symbol: Uses and Meanings of Architectural Space | |
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| The Dance of Death: Notes on the Architecture and Staging of Tamberma Funeral Performances | |
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| Dutch Galleons and South Nias Palaces | |
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| The Pueblo and the Hogan: A Cross-Cultural Comparison of Two Response to an Environment | |
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| Continuity and Change In Fourth World Arts | |
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| Purity and Pollution in Freetown Masked Performances | |
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| Tradition in Native American Art | |
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| Lakota Beaded Costumes of the Early Reservation Era | |
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| Straddling the Cultural Fence: The Conflict for Ethnic Artists within Pueblo Societies | |
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| Index | |