Maryam Ohadi-Hamadani is Lecturer in History of Art, Edinburgh College of Art at the University of Edinburgh, UK. She has widely published on the postcolonial histories of African, Afro-Caribbean, Asian and Black British art in Britain and beyond.Catherine Spencer is Senior Lecturer in the School of Art History, University of St Andrews, UK. She is the author of Beyond the Happening: Performance Art and the Politics of Communication (2020), and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (2018).Amy Tobin is Professor of Modern and Contemporary Art in the History of Art, University of Cambridge, and Curator, Contemporary Programmes at Kettle’s Yard, UK. She is the author of Women Artists Together: Art in the Age of Women’s Liberation (2023) and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (2018).

• Acknowledgements List of IllustrationsNotes on ContributorsIntroduction: Art and Visual Culture from the Grassroots, Maryam Ohadi-Hamadani (University of Edinburgh, UK), Amy Tobin (University of Cambridge, UK), and Catherine Spencer (University of St Andrews, UK)1. Visualizing Resistance in Horace Ové’s Pressure and Franco Rosso’s Mangrove Nine, Maryam Ohadi-Hamadani (University of Edinburgh, UK)2. ‘The art, the politics, the desire to question tradition’: in conversation with Lynn MacRitchie, Amy Tobin (University of Cambridge, UK), with Catherine Spencer (University of St Andrews, UK) and Maryam Ohadi-Hamadani (University of Edinburgh, UK)3. Framing a Slide Registry: Towards a History of the Women Artists Slide Library, Lily Evans-Hill (Courtauld Institute of Art, UK)4. Putting out (bins) filling in (history): in conversation with Shirley Read, Naomi Pearce (Writer and Curator, UK)5. Artists for Society, Society for Artists: The Artists’ Union (1972-1983), Neylan Bagcioglu Izgi (University of Cambridge, UK)6. From Theory to Therapy: Jo Spence, Simon Watney and the Interdependency of Breast Cancer and HIV/AIDS, Jackson Davidow (Harvard Art Museums, USA)7. United We Fall: Stephen Dwoskin, Allan Sutherland and Disablement on Film, Henry K. Miller (University College London, UK)8. Early Imagery of AIDS in the UK: The Visual Culture of ‘Policy from Below’, Theo Gordon (University of York, UK)9. The St Matthew’s Photo Workshop: Photography and the Politics of Space in 1970s Cambridge, Lucy Howie (University of St Andrews, UK) and Alina Khakoo (University of Cambridge, UK)10. Archives and Endurance: A Roundtable DiscussionMora J. Beauchamp-Byrd, Catherine Grant, Alexandra Kokoli, Na’ama Klorman-Eraqi, Jennifer Sarathy, Gregory Salter, Al-An deSouza, Ed Webb-Ingall11. A Dialogue, Christie Costello (University of Cambridge, UK) and Lola Olufemi (The Stuart Hall Foundation, CREAM and Westminster School of Arts, UK)12. The Status and Future of Queer Photography in Britain in the Eighties, Restaging Creative Camera’s 1986 roundtable (Ajamu X, Emily Andersen, Rosy Martin, Del LaGrace Volcano, and Simon Watney), Flora Dunster (Researcher and Curator, UK)13. From Collectives to Institution: Three Transformative Moments that shaped Autograph ABP, Taous R. Dahmani (Panthéon-Sorbonne University, France)14. Sugar, Flour, Petrol: Civil Rights and Filmic Memory in Northern Ireland, Catherine Spencer (University of St Andrews, UK)15. Power in Numbers: Black British Artist Groups, Collectives and Networks since the 1960s, Anjalie Dalal-Clayton (University of the Arts London, UK)Index

Maryam Ohadi-Hamadani is Lecturer in History of Art, Edinburgh College of Art at the University of Edinburgh, UK. She has widely published on the postcolonial histories of African, Afro-Caribbean, Asian and Black British art in Britain and beyond.Catherine Spencer is Senior Lecturer in the School of Art History, University of St Andrews, UK. She is the author of Beyond the Happening: Performance Art and the Politics of Communication (2020), and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (2018).Amy Tobin is Professor of Modern and Contemporary Art in the History of Art, University of Cambridge, and Curator, Contemporary Programmes at Kettle’s Yard, UK. She is the author of Women Artists Together: Art in the Age of Women’s Liberation (2023) and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (2018).

• Acknowledgements List of IllustrationsNotes on ContributorsIntroduction: Art and Visual Culture from the Grassroots, Maryam Ohadi-Hamadani (University of Edinburgh, UK), Amy Tobin (University of Cambridge, UK), and Catherine Spencer (University of St Andrews, UK)1. Visualizing Resistance in Horace Ové’s Pressure and Franco Rosso’s Mangrove Nine, Maryam Ohadi-Hamadani (University of Edinburgh, UK)2. ‘The art, the politics, the desire to question tradition’: in conversation with Lynn MacRitchie, Amy Tobin (University of Cambridge, UK), with Catherine Spencer (University of St Andrews, UK) and Maryam Ohadi-Hamadani (University of Edinburgh, UK)3. Framing a Slide Registry: Towards a History of the Women Artists Slide Library, Lily Evans-Hill (Courtauld Institute of Art, UK)4. Putting out (bins) filling in (history): in conversation with Shirley Read, Naomi Pearce (Writer and Curator, UK)5. Artists for Society, Society for Artists: The Artists’ Union (1972-1983), Neylan Bagcioglu Izgi (University of Cambridge, UK)6. From Theory to Therapy: Jo Spence, Simon Watney and the Interdependency of Breast Cancer and HIV/AIDS, Jackson Davidow (Harvard Art Museums, USA)7. United We Fall: Stephen Dwoskin, Allan Sutherland and Disablement on Film, Henry K. Miller (University College London, UK)8. Early Imagery of AIDS in the UK: The Visual Culture of ‘Policy from Below’, Theo Gordon (University of York, UK)9. The St Matthew’s Photo Workshop: Photography and the Politics of Space in 1970s Cambridge, Lucy Howie (University of St Andrews, UK) and Alina Khakoo (University of Cambridge, UK)10. Archives and Endurance: A Roundtable DiscussionMora J. Beauchamp-Byrd, Catherine Grant, Alexandra Kokoli, Na’ama Klorman-Eraqi, Jennifer Sarathy, Gregory Salter, Al-An deSouza, Ed Webb-Ingall11. A Dialogue, Christie Costello (University of Cambridge, UK) and Lola Olufemi (The Stuart Hall Foundation, CREAM and Westminster School of Arts, UK)12. The Status and Future of Queer Photography in Britain in the Eighties, Restaging Creative Camera’s 1986 roundtable (Ajamu X, Emily Andersen, Rosy Martin, Del LaGrace Volcano, and Simon Watney), Flora Dunster (Researcher and Curator, UK)13. From Collectives to Institution: Three Transformative Moments that shaped Autograph ABP, Taous R. Dahmani (Panthéon-Sorbonne University, France)14. Sugar, Flour, Petrol: Civil Rights and Filmic Memory in Northern Ireland, Catherine Spencer (University of St Andrews, UK)15. Power in Numbers: Black British Artist Groups, Collectives and Networks since the 1960s, Anjalie Dalal-Clayton (University of the Arts London, UK)Index

Maryam Ohadi-Hamadani is Lecturer in History of Art, Edinburgh College of Art at the University of Edinburgh, UK. She has widely published on the postcolonial histories of African, Afro-Caribbean, Asian and Black British art in Britain and beyond.Catherine Spencer is Senior Lecturer in the School of Art History, University of St Andrews, UK. She is the author of Beyond the Happening: Performance Art and the Politics of Communication (2020), and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (2018).Amy Tobin is Professor of Modern and Contemporary Art in the History of Art, University of Cambridge, and Curator, Contemporary Programmes at Kettle’s Yard, UK. She is the author of Women Artists Together: Art in the Age of Women’s Liberation (2023) and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (2018).

• Acknowledgements List of IllustrationsNotes on ContributorsIntroduction: Art and Visual Culture from the Grassroots, Maryam Ohadi-Hamadani (University of Edinburgh, UK), Amy Tobin (University of Cambridge, UK), and Catherine Spencer (University of St Andrews, UK)1. Visualizing Resistance in Horace Ové’s Pressure and Franco Rosso’s Mangrove Nine, Maryam Ohadi-Hamadani (University of Edinburgh, UK)2. ‘The art, the politics, the desire to question tradition’: in conversation with Lynn MacRitchie, Amy Tobin (University of Cambridge, UK), with Catherine Spencer (University of St Andrews, UK) and Maryam Ohadi-Hamadani (University of Edinburgh, UK)3. Framing a Slide Registry: Towards a History of the Women Artists Slide Library, Lily Evans-Hill (Courtauld Institute of Art, UK)4. Putting out (bins) filling in (history): in conversation with Shirley Read, Naomi Pearce (Writer and Curator, UK)5. Artists for Society, Society for Artists: The Artists’ Union (1972-1983), Neylan Bagcioglu Izgi (University of Cambridge, UK)6. From Theory to Therapy: Jo Spence, Simon Watney and the Interdependency of Breast Cancer and HIV/AIDS, Jackson Davidow (Harvard Art Museums, USA)7. United We Fall: Stephen Dwoskin, Allan Sutherland and Disablement on Film, Henry K. Miller (University College London, UK)8. Early Imagery of AIDS in the UK: The Visual Culture of ‘Policy from Below’, Theo Gordon (University of York, UK)9. The St Matthew’s Photo Workshop: Photography and the Politics of Space in 1970s Cambridge, Lucy Howie (University of St Andrews, UK) and Alina Khakoo (University of Cambridge, UK)10. Archives and Endurance: A Roundtable DiscussionMora J. Beauchamp-Byrd, Catherine Grant, Alexandra Kokoli, Na’ama Klorman-Eraqi, Jennifer Sarathy, Gregory Salter, Al-An deSouza, Ed Webb-Ingall11. A Dialogue, Christie Costello (University of Cambridge, UK) and Lola Olufemi (The Stuart Hall Foundation, CREAM and Westminster School of Arts, UK)12. The Status and Future of Queer Photography in Britain in the Eighties, Restaging Creative Camera’s 1986 roundtable (Ajamu X, Emily Andersen, Rosy Martin, Del LaGrace Volcano, and Simon Watney), Flora Dunster (Researcher and Curator, UK)13. From Collectives to Institution: Three Transformative Moments that shaped Autograph ABP, Taous R. Dahmani (Panthéon-Sorbonne University, France)14. Sugar, Flour, Petrol: Civil Rights and Filmic Memory in Northern Ireland, Catherine Spencer (University of St Andrews, UK)15. Power in Numbers: Black British Artist Groups, Collectives and Networks since the 1960s, Anjalie Dalal-Clayton (University of the Arts London, UK)Index