Art history in the 1990s was mesmerized by globalization theory and contemporaneous phenomena such as transnational biennale exhibitions. It put up keen resistance to the postcolonial turn (which originated in literary studies) in the 1980s before gradually dismantling the paradigm of modernist primitivism. But the fact that the voices of scholars dedicated to the study of black diaspora art have made themselves heard—however belatedly—indicates a transformation in the discipline that is firmly under way and that is, moreover, wholly irreversible in its consequences.


Kobena Mercer  |  2012