Delinda Collier is associate professor of art history, theory, and criticism at the School of the Art Institute of Chicago.

"Repainting the Walls of Lunda reimagines how we write histories of post-colonial Africa, encouraging us to pay close attention to the material legacies of coloniality and modernization processes, and offering us a much-needed look at the complex entanglements of media with colonial/postcolonial and cold war narratives."-Elizabeth Harney, University of Toronto"Collier's book is of particular interest to art historians, historians, media scholars, and cultural theorists for its conceptual framing, applied methodological approaches, and interpretative analysis. Collier offers new conceptual and methodological strategies for situating contemporary African art within longer histories of colonization and decolonization."-H-Net Reviews"In addition to telling a fascinating story, Collier’s book will no doubt furnish scholars from a variety of areas with substantial food for thought, if not concrete models for approaching their own research."-AnÁlise Social"A unique insight into the limits of postcolonial escape from colonial structures of inequality and appropriations."-Journal of Asian and African Studies"Collier debunks the developmental model that underpins media theory and modernist teleologies, habitually framing ideas of the medium along a narrative of innovation and obsolescence that is driven by technology and markets."-Oxford Art Journal

• ContentsIntroduction1. Diamang as Apparatus: The Production of Painted Walls of Lunda in 19532. The Myth of Analog Africa: The Transition to Information Colonialism3. Rebouco: Postindependence Art and Angolan Socialism4. “Rescue and Visibility”: The Digitization of Painted Walls of Lunda and Postwar Angolan Art ConclusionAcknowledgmentsNotesIndex

Delinda Collier is associate professor of art history, theory, and criticism at the School of the Art Institute of Chicago.

"Repainting the Walls of Lunda reimagines how we write histories of post-colonial Africa, encouraging us to pay close attention to the material legacies of coloniality and modernization processes, and offering us a much-needed look at the complex entanglements of media with colonial/postcolonial and cold war narratives."-Elizabeth Harney, University of Toronto"Collier's book is of particular interest to art historians, historians, media scholars, and cultural theorists for its conceptual framing, applied methodological approaches, and interpretative analysis. Collier offers new conceptual and methodological strategies for situating contemporary African art within longer histories of colonization and decolonization."-H-Net Reviews"In addition to telling a fascinating story, Collier’s book will no doubt furnish scholars from a variety of areas with substantial food for thought, if not concrete models for approaching their own research."-AnÁlise Social"A unique insight into the limits of postcolonial escape from colonial structures of inequality and appropriations."-Journal of Asian and African Studies"Collier debunks the developmental model that underpins media theory and modernist teleologies, habitually framing ideas of the medium along a narrative of innovation and obsolescence that is driven by technology and markets."-Oxford Art Journal

• ContentsIntroduction1. Diamang as Apparatus: The Production of Painted Walls of Lunda in 19532. The Myth of Analog Africa: The Transition to Information Colonialism3. Rebouco: Postindependence Art and Angolan Socialism4. “Rescue and Visibility”: The Digitization of Painted Walls of Lunda and Postwar Angolan Art ConclusionAcknowledgmentsNotesIndex