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| List of Illustrations | |
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| Notes on Contributors | |
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| Introduction: Globalization and Contemporary Art: A Convergence of Peoples and Ideas | |
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| Institutions | |
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| Introduction | |
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| Real Time and Real Time at The Israel Museum, Jerusalem | |
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| Peddling Time When Standing Still: Art Remains in Lebanon and the Globalization That Was | |
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| Homogeneity or Individuation? A Long View of the Critical Paradox of Contemporary Art in a Stateless Nation | |
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| Museums in the Colonial Horizon of Modernity: Fred Wilson's Mining the Museum (1992) | |
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| Africus Johannesburg Biennale 1995: Butisi Tart? | |
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| Formations | |
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| Introduction | |
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| Post-Crisis: Scenes of Cultural Change in Buenos Aires | |
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| Evolution within the Revolution: The Afro-Cuban Cultural Movement and Cuban Art Collectives, 1975 to 2000 | |
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| Ka Muhe'e, He i'a Hololua: Kanaka Maoli Art and the Challenge of the Global Market | |
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| Aboriginal Cosmopolitans: A Prehistory of Western Desert Painting | |
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| Working to Learn Together: Failure as Tactic | |
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| Means and Forces of Production | |
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| Introduction | |
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| The Two Economies of World Art | |
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| The Spectacle and Its Others: Labor, Conflict, and Art in the Age of Global Capital | |
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| Cultural Mercantilism: Modernism's Means of Production: The Gutai Group as Case Study | |
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| Audiovisionaries of the Network Planet | |
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| Identifications | |
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| Introduction | |
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| Contemporary Asian Art and the West | |
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| World Pictures: Globalization and Visual Culture | |
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| Leaves of Grass and Real Allegory: A Case Study of International Rebellion | |
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| Collaboration in Art and Society: A Global Pursuit of Democratic Dialogue | |
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| Forms | |
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| Introduction | |
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| Globalization Questions and Contemporary Art's Answers: Art in Palestine | |
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| Political Islam and the Time of Contemporary Art | |
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| Displaced Models: Techniques and Tactics of Reproduction across the Genres and Institutions of Western Art from Duchamp to Doujak | |
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| White Man Got No Dreaming: Indigenous Art, Apartheid and the Emergence of "Global Style" Painting in Australia | |
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| The Discourse of (L)imitation: A Case Study with Hole-Digging in 1960s Japan | |
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| Reproduction | |
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| Introduction | |
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| Art and Postcolonial Society | |
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| Why Art History is Global | |
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| The Agency of the Historian in the Construction of National Identity in Colombian Architecture | |
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| Aboriginal Art and Australian Modernism: An Althusserian Critique | |
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| Gesturing No(w)here | |
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| Organization | |
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| Introduction | |
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| The Emergence of Powerhouse Dealers in Contemporary Art | |
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| The Art Market in Transition, the Global Economic Crisis, and the Rise of Asia | |
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| Global Contemporary? The Global Horizon of Art Events | |
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| "Institutionalized Globalization," Contemporary Art, and the Corporate Gulag in Chile | |
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| Culture, Neoliberal Development, and the Future of Progressive Politics in Southeastern Europe | |
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| Select Bibliography | |
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| Illustration Credits | |
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| Index | |