Eddie Chambers is Professor in the Department of Art and Art History, at the University of Texas, Austin.

• Part One: Historical Framings; 1 Patricia Hills: ‘History Must Restore What Slavery Took Away’: Freeman H. M. Murray, Double-Consciousness, and the Historiography of African American Art History; 2 Mary Ann Calo: The Significance of the Interwar Decades to Scholarship on African American Art; 3 Phoebe Wolfskill: The Enduring Relevance of the Harlem Renaissance; 4 John Ott: African American Art Beyond the Harlem Renaissance; 5 Melanie Anne Herzog: African American Artists and Mexico; 6 Anna Arabindan-Kesson: Caribbean Absences in African American Art; 7 Tobias Wofford: The Influence of African Art on African American Art; 8 Kirsten Pai Buick: Confessions of an Unintended Reader: African American Art, American Art, and the Crucible of Naming; 9 Tanya Sheehan: On Display: The Art of African American Photography; 10 Margo Natalie Crawford: When Black Experimentalism Became Black Power: The Black Arts Movement and its Legacies; Part Two: Within the Academy; 11 John Tyson: The Washington Renaissance: Black Artists and Modern Institutions; 12 Tatiana Flores: Disturbing Categories, Remapping Knowledge; 13 Andrea Barnwell Brownlee: The Atlanta University Center: A Nucleus of Visual Art; 14 Sarah Lewis: African American Abstraction; 15 Mary M Thomas: Within/Against: Circuits and Networks of African American Art in California; 16 Kymberly Pinder: Black Grace: The Religious Impulse in African American Art; 17 Theresa Leininger-Miller: New Negro Artists in Paris in the 1920s and 1930s; 18 Nizan Shaked: Getting to a Baseline on Identity Politics: the Marxist Debate; 19 Rebecca Zorach: African American Artists and the Community Mural Movement; 20 Betty Crouther: The South in African American Art; Part Three: Curatorial Histories and Strategies; 21 Lesley Shipley: New York in/and African American Art History; 22 Blake Bradford: Ain’t No Stoppin’ Us Now - African American Artists in Philadelphia since 1940; 23 Katherine Jentleson: Surveying the Presence of Self-Taught African American Artists in American Museums; 24 Richard Hylton: Status and Presence: African American Art in the International Arena; 25 Modupe Labode: Black Public Art in the United States; 26 Nicholas Miller: The History of the Group Exhibition from the Harmon Foundation to Black Male; 27 Elaine Yau: Black / Folk / Art: Shapeshifting Roles of "the Folk" in African American Art; 28 Julie McGee: The Artist & the Archive: African American Art; 29 Nika Elder: African American Art and the White Cube; 30 Celeste-Marie Bernier: "Feeling for my People": Visualizing Resistance, Radicalism, and Revolution; Part Four: Historical, Modern and Contemporary Considerations; 31 Uri McMillan: Unruly Polyvocality: Networks of Black Performance Art; 32 Leslie Wilson: Can You Get to That’: The funk of ‘conceptual-type art’; 33 Rehema C. Barber: Picturing Freedom: The Legacy of Representing Black Womanhood; 34Allan Edmunds: The Printed Image: Process and Influences in African American Art; 35 Derek Conrad Murray: Queer Aesthetics in the History of African American Art; 36 Nigel Freeman: African-American Artists and the Art Market: A Dream Deferred; 37 Kemi Adeyemi: Black Women Curators: A Brief Oral History of the Recent Past; 38 Rebecca VanDiver: Breaking Ground: Constructions of Identity in African American Art; 39 James Smalls: Post-blackness and New Developments in African American Art and Art History; 40 Eddie Chambers: African American Art History: Concluding Considerations

Eddie Chambers is Professor in the Department of Art and Art History, at the University of Texas, Austin.

• Part One: Historical Framings; 1 Patricia Hills: ‘History Must Restore What Slavery Took Away’: Freeman H. M. Murray, Double-Consciousness, and the Historiography of African American Art History; 2 Mary Ann Calo: The Significance of the Interwar Decades to Scholarship on African American Art; 3 Phoebe Wolfskill: The Enduring Relevance of the Harlem Renaissance; 4 John Ott: African American Art Beyond the Harlem Renaissance; 5 Melanie Anne Herzog: African American Artists and Mexico; 6 Anna Arabindan-Kesson: Caribbean Absences in African American Art; 7 Tobias Wofford: The Influence of African Art on African American Art; 8 Kirsten Pai Buick: Confessions of an Unintended Reader: African American Art, American Art, and the Crucible of Naming; 9 Tanya Sheehan: On Display: The Art of African American Photography; 10 Margo Natalie Crawford: When Black Experimentalism Became Black Power: The Black Arts Movement and its Legacies; Part Two: Within the Academy; 11 John Tyson: The Washington Renaissance: Black Artists and Modern Institutions; 12 Tatiana Flores: Disturbing Categories, Remapping Knowledge; 13 Andrea Barnwell Brownlee: The Atlanta University Center: A Nucleus of Visual Art; 14 Sarah Lewis: African American Abstraction; 15 Mary M Thomas: Within/Against: Circuits and Networks of African American Art in California; 16 Kymberly Pinder: Black Grace: The Religious Impulse in African American Art; 17 Theresa Leininger-Miller: New Negro Artists in Paris in the 1920s and 1930s; 18 Nizan Shaked: Getting to a Baseline on Identity Politics: the Marxist Debate; 19 Rebecca Zorach: African American Artists and the Community Mural Movement; 20 Betty Crouther: The South in African American Art; Part Three: Curatorial Histories and Strategies; 21 Lesley Shipley: New York in/and African American Art History; 22 Blake Bradford: Ain’t No Stoppin’ Us Now - African American Artists in Philadelphia since 1940; 23 Katherine Jentleson: Surveying the Presence of Self-Taught African American Artists in American Museums; 24 Richard Hylton: Status and Presence: African American Art in the International Arena; 25 Modupe Labode: Black Public Art in the United States; 26 Nicholas Miller: The History of the Group Exhibition from the Harmon Foundation to Black Male; 27 Elaine Yau: Black / Folk / Art: Shapeshifting Roles of "the Folk" in African American Art; 28 Julie McGee: The Artist & the Archive: African American Art; 29 Nika Elder: African American Art and the White Cube; 30 Celeste-Marie Bernier: "Feeling for my People": Visualizing Resistance, Radicalism, and Revolution; Part Four: Historical, Modern and Contemporary Considerations; 31 Uri McMillan: Unruly Polyvocality: Networks of Black Performance Art; 32 Leslie Wilson: Can You Get to That’: The funk of ‘conceptual-type art’; 33 Rehema C. Barber: Picturing Freedom: The Legacy of Representing Black Womanhood; 34Allan Edmunds: The Printed Image: Process and Influences in African American Art; 35 Derek Conrad Murray: Queer Aesthetics in the History of African American Art; 36 Nigel Freeman: African-American Artists and the Art Market: A Dream Deferred; 37 Kemi Adeyemi: Black Women Curators: A Brief Oral History of the Recent Past; 38 Rebecca VanDiver: Breaking Ground: Constructions of Identity in African American Art; 39 James Smalls: Post-blackness and New Developments in African American Art and Art History; 40 Eddie Chambers: African American Art History: Concluding Considerations

Eddie Chambers is Professor in the Department of Art and Art History, at the University of Texas, Austin.

• Part One: Historical Framings; 1 Patricia Hills: ‘History Must Restore What Slavery Took Away’: Freeman H. M. Murray, Double-Consciousness, and the Historiography of African American Art History; 2 Mary Ann Calo: The Significance of the Interwar Decades to Scholarship on African American Art; 3 Phoebe Wolfskill: The Enduring Relevance of the Harlem Renaissance; 4 John Ott: African American Art Beyond the Harlem Renaissance; 5 Melanie Anne Herzog: African American Artists and Mexico; 6 Anna Arabindan-Kesson: Caribbean Absences in African American Art; 7 Tobias Wofford: The Influence of African Art on African American Art; 8 Kirsten Pai Buick: Confessions of an Unintended Reader: African American Art, American Art, and the Crucible of Naming; 9 Tanya Sheehan: On Display: The Art of African American Photography; 10 Margo Natalie Crawford: When Black Experimentalism Became Black Power: The Black Arts Movement and its Legacies; Part Two: Within the Academy; 11 John Tyson: The Washington Renaissance: Black Artists and Modern Institutions; 12 Tatiana Flores: Disturbing Categories, Remapping Knowledge; 13 Andrea Barnwell Brownlee: The Atlanta University Center: A Nucleus of Visual Art; 14 Sarah Lewis: African American Abstraction; 15 Mary M Thomas: Within/Against: Circuits and Networks of African American Art in California; 16 Kymberly Pinder: Black Grace: The Religious Impulse in African American Art; 17 Theresa Leininger-Miller: New Negro Artists in Paris in the 1920s and 1930s; 18 Nizan Shaked: Getting to a Baseline on Identity Politics: the Marxist Debate; 19 Rebecca Zorach: African American Artists and the Community Mural Movement; 20 Betty Crouther: The South in African American Art; Part Three: Curatorial Histories and Strategies; 21 Lesley Shipley: New York in/and African American Art History; 22 Blake Bradford: Ain’t No Stoppin’ Us Now - African American Artists in Philadelphia since 1940; 23 Katherine Jentleson: Surveying the Presence of Self-Taught African American Artists in American Museums; 24 Richard Hylton: Status and Presence: African American Art in the International Arena; 25 Modupe Labode: Black Public Art in the United States; 26 Nicholas Miller: The History of the Group Exhibition from the Harmon Foundation to Black Male; 27 Elaine Yau: Black / Folk / Art: Shapeshifting Roles of "the Folk" in African American Art; 28 Julie McGee: The Artist & the Archive: African American Art; 29 Nika Elder: African American Art and the White Cube; 30 Celeste-Marie Bernier: "Feeling for my People": Visualizing Resistance, Radicalism, and Revolution; Part Four: Historical, Modern and Contemporary Considerations; 31 Uri McMillan: Unruly Polyvocality: Networks of Black Performance Art; 32 Leslie Wilson: Can You Get to That’: The funk of ‘conceptual-type art’; 33 Rehema C. Barber: Picturing Freedom: The Legacy of Representing Black Womanhood; 34Allan Edmunds: The Printed Image: Process and Influences in African American Art; 35 Derek Conrad Murray: Queer Aesthetics in the History of African American Art; 36 Nigel Freeman: African-American Artists and the Art Market: A Dream Deferred; 37 Kemi Adeyemi: Black Women Curators: A Brief Oral History of the Recent Past; 38 Rebecca VanDiver: Breaking Ground: Constructions of Identity in African American Art; 39 James Smalls: Post-blackness and New Developments in African American Art and Art History; 40 Eddie Chambers: African American Art History: Concluding Considerations