“Fragmentary Ruins and the Enduring Image”: Cammy Brothers on Drawing as a Way of Thinking

"A Critique of What Art Can Do”: Jennifer Nelson on Undoing Mastery

“To Give Shape to a Way of Seeing the Past”: Shira Brisman on the Intimacy of Writing the History of Social Art

“The Magic Art of Framing”: Alexander Nemerov on Writing History and Making a World

"On Living Archives": Tsedaye Makonnen on Collaboration and Black Performance Practices

"Attention Becomes a Kind of Politics": Sarah Hamill on Sculpture and Interpretation

“Shifting Focal Points”: Sergei Tcherepnin on Sonic Attention

“What ‘Minor' Histories Allow Us to See”: Donette Francis on Writing African Diaspora

"I Never Start with Nothing": Mary Lum on Collage and Constructed Geographies

“An Outward-Looking Model”: The Future(s) of the University and Higher Education in a Digital Age with Koenraad Brosens and Blake Stimson

“What are Our Important Questions?”: Collaboration and Interdisciplinarity in a Digital Age with Jacqueline Francis and Susan Elizabeth Gagliardi

“To Make Visible the Structures”: Challenging the Canon, Digital and Beyond, with Niall Atkinson and Min Kyung Lee

“Distance and Criticality”: The Digital Humanities and the Potential for Art History Scholarship with Hubertus Kohle and Emily Pugh

“Directed Towards How We See Ourselves”: Social Art History in a Digital World with Paul B. Jaskot and Barbara McCloskey

“A Mechanism for Survival”: McClain Groff on nibia pastrana santiago’s NO MORE EFFORTS

“A Picture of Resilience”: Ashley Lazevnick on Charles Demuth’s "Red Poppies"

“An Expression of the Poetic Self”: Yuefeng Wu on the Stele Inscription of the Jiu-Cheng Palace

“From Imitation to Evolution”: Emmelyn Butterfield-Rosen on Georges Seurat’s "A Sunday on La Grande Jatte–1884"

“An Allegory of Representation”: Byron Otis on Gabriel Metsu’s "View into a Hall with a Jester, a Boy, and his Dog"

"Touching at a Distance”: Ellen Tani on Nadine Robinson’s "Coronation Theme: Organon"